At the 78th Cannes Film Festival, Wes Anderson’s latest feature, The Phoenician Scheme, brought together renowned actors such as Benicio Del Toro, Michael Cera, and Mia Threapleton to explore his celebrated filmmaking style and creative process, marked by a meticulous approach and a penchant for repeated takes. As Anderson continues to fascinate both critics and audiences with his distinct artistic choices, cast members have offered new insights on how his directing methods both constrain and liberate performers, revealing the emotional intensity found within his crafted worlds.
Revisiting The Phoenician Scheme’s Premiere and Cast
Wes Anderson returned to Cannes this year, unveiling his newest ensemble film, The Phoenician Scheme. The movie features Benicio Del Toro in the role of Anatole Zsa-zsa Korda, a shrewd arms dealer who, after surviving multiple near-death experiences, confronts his legacy by bringing his estranged daughter Liesl, played by Mia Threapleton, into his business. Accompanied by familiar Anderson collaborators such as Tom Hanks, Bryan Cranston, Scarlett Johansson, and Bill Murray, the film sends its characters on a cross-country journey, diverging from Anderson’s usual story settings and motifs.
This occasion marked Del Toro’s return to Anderson’s sets, while Michael Cera and Threapleton experienced their first time working under the director’s guidance. As the film plays in select theaters and prepares for a wider release on June 6, the cast has shared their thoughts on the director’s elaborate creative routines, work ethic, and influence within the global film community.
The Cast’s Most Cherished Cinematic Venues
During conversations with Collider’s Steve Weintraub, the cast discussed their affection for movie theaters—venues that for many, serve as places of inspiration and reflection. Benicio Del Toro highlighted the Fox Theatre in Westwood as a favorite, recounting its temporary closure and the recent collective effort among prominent directors—including Jason Reitman, Guillermo Del Toro, and JJ Abrams—to purchase and renovate these local landmarks. Michael Cera commented on how these revitalized theaters could soon host memorable premieres, a testament to Hollywood’s commitment to preserving its history and fostering the cinematic experience in venues such as the Village Theatre.
Mia Threapleton shared a personal perspective on the emotional resonance of vintage cinemas, describing her experiences in venues showing rare European films from the 1940s, their ornate decor and velvet seating reminding her why the communal magic of moviegoing endures. Cera, residing in Los Angeles, named New York’s Metrograph as a current favorite, underlining the intimate energy of the Lower East Side theater and its reputation for unique programming and culinary offerings. The dialogue between these artists revealed the vibrancy of film culture on both coasts and shed light on the influence of legendary venues on performers’ relationships with their craft.
I want to do my premiere in Westwood.
Favorite theater?
Wow! This is why I love coming to the movies and watching movies in these kinds of places.
The Methods Behind Anderson’s Directorial Approach
Wes Anderson’s filmmaking style and creative process are defined by precision and the deliberate orchestration of every production element, from dialogue and framing to movement and performance. Steve Weintraub asked the cast about their preparations for an Anderson set, given the director’s unmistakable attention to detail and expectation of absolute fidelity to his written vision.
Mia Threapleton acknowledged that preparation remains a deeply personal pursuit for every actor, adapting to the demands of each project and the director’s mode of operation. For Benicio Del Toro, Anderson’s style is unmistakably particular; the director establishes clear boundaries within the script and visual language, expecting honesty and authenticity from his performers within those boundaries. Del Toro compared Anderson’s scripts to a structure akin to a Jenga tower:
“For me, it’s like the minute you take something out, it just doesn’t function the same.”
The consequence, he explained, is an imperative to honor the text while investing each moment with the full measure of the actor’s craft.
Del Toro elaborated, reflecting on the necessity of authenticity in pursuit of emotion—whether humor, sadness, or any other sentiment. Anderson’s method
“boxes you in, but he expects you to bring the truth that actors bring. Within that, those outside lines, there is plenty of exploration that you can do within his respect for the words. Also, I recognize he is one hell of a writer, and when there is good writing — and I’ve had the opportunity to work on projects that have been based on great writing — for me, it’s like the minute you take something out, it just doesn’t function the same. So, good writing is almost like building a Jenga thing; if you take something out, it comes down. So, your instinct is to honor the word, and once you do that, it really starts to flow. But you have to bring in your work, the same work that you do in any other movie. It’s got to be there while you do it, because he expects it. He wants honesty, and from the honesty, you can get the laugh or the tears, whatever it is. But he expects you to bring in whatever it is that you bring as an actor.”
The Demands and Surprises of Anderson’s Shooting Process
Wes Anderson is renowned for the volume of takes he demands, often matching or exceeding the intensity of noted perfectionist David Fincher. The cast described the realities of this approach, including lengthy pre-shoot periods and marathon sessions on set. Threapleton recounted an especially rigorous film day:
“We had a week of preshoot, and on day one, we did 69 takes. I really remember that because I would say,
Oh my goodness, this is great.
My first thought was, This is great, because it gives us so much time and freedom to try so many different things within safe knowledge that we know that Wes knows what it is that he wants and what he’s looking for. Also, there’s this freedom and trust that I think we all place in him to just tell us what to do. It was really fun to have that time.”
Michael Cera described these protracted shoots not as arbitrary repetition but as carefully scheduled periods of discovery. According to Cera, Anderson provides ample opportunity for the cast to experiment and perfect each scene:
“It’s really clever how he schedules things because, like Mia said, we did like two weeks of pre-shooting, which I’ve never even heard of this.”
Threapleton further clarified that these weren’t just rehearsals but full shooting days dedicated to mastering single scenes, underscoring Anderson’s methodical approach. Cera added,
“Like what she said, we did 69 takes of this one piece, where Benicio’s getting his suit fitted. Then the same day, later that day, we did one more setup where you have the shaving bowl, and we did 35 takes of that. So it was like,
Okay. We’re going in the right direction.
”
Benicio Del Toro, with characteristic humor, addressed the exhaustive shooting schedule, saying,
“Wow, you guys are weird! Were you counting the takes? It was probably all my fault. [Laughs] It was me messing up the lines.”
This camaraderie, alongside the intense focus, shows how Anderson’s style forges collaboration and resilience among his actors. Threapleton recalled,
“I remember hearing afterwards. I didn’t count them. It’s impossible to count them while they’re going.”
This unquantifiable, almost immersive process, is signaled as both a challenge and a source of creative fulfillment for the team.
The Lasting Effects of Anderson’s Artistic Discipline
As The Phoenician Scheme screens in select venues ahead of its general release, the experiences shared by Benicio Del Toro, Michael Cera, and Mia Threapleton offer rare insight into Wes Anderson’s filmmaking style and creative process—a combination that “boxes in” yet unlocks performers’ deepest capacities. Through meticulous planning, intense repetition, and unwavering respect for the script, Anderson draws out nuanced, emotionally resonant performances, inspiring his actors to seek authenticity within his well-crafted boundaries.
The connections cast members have to iconic movie theaters, from Los Angeles’ Fox and Village to New York’s Metrograph, further reveal the deep relationship between artists and the experience of watching films as a communal art form. As Anderson’s vibrant team prepares for broader recognition with forthcoming premieres and critical response, their recollections uncover how ritual, tradition, and obsessive craft continue to define the magic of cinema and the enigmatic allure of working alongside one of today’s most distinctive directors.
