Wes Anderson discusses The Phoenician Scheme and artistic influences in a recent interview, revealing how the film draws on the lives of 1950s European industrialists and reflects his evolving perspective as a parent. Shot with distinct mid-century style and infused with cinematic allusions, The Phoenician Scheme showcases Anderson’s continued fascination with the eccentricity of tycoon figures and personal themes of fatherhood, making it a unique addition to his filmography.
Origins of The Phoenician Scheme and Inspiration from European Tycoons
Wes Anderson’s creative process for The Phoenician Scheme began as he explored the biographies of renowned post-war European businessmen, figures such as Aristotle Onassis and Gianni Angelli. These industrialists captivated Anderson not only for their economic power but also for the persona they projected, straddling lines between business, celebrity, and eccentricity. The director found that while these men often shared traits—vision, privilege, and idiosyncrasies—each remained singular in his particular approach to life and business.
Examining these moguls led Anderson to devise a central character designed for Benicio del Toro from the outset. Rather than casting after conception, both the image of a “Euro tycoon” and del Toro’s unique presence materialized simultaneously for Anderson, making the performer and the archetype inseparable in his vision for the film. This organic melding of actor and role forms the core of the film’s storytelling.
An Homage to Classic Cinema and Artificial Worlds
For those who experience The Phoenician Scheme, the film’s meticulous recreation of a mid-twentieth-century atmosphere—spanning Europe, Hollywood, and North Africa—stands out. Anderson deliberately embraced a kind of stylized artificiality in the tradition of Michael Curtiz, notably echoing the production approach of Casablanca. The movie’s nightclub setting, operated by the character Marseille Bob (portrayed by Mathieu Amalric), is a direct nod to Curtiz and the elaborate soundstage worlds that defined Golden Age Hollywood.
Within the interview, Anderson acknowledged that while some allusions were intentional—like the Robin Hood scene, derived from classic cinema staples—others emerged unconsciously, surfacing only upon later reflection. Connections to directors such as Alexander Korda, Julien Duvivier, and Orson Welles (with mentions of Mr. Arkadin) further reflected the diverse web of artistic influence on the project.
The Many Facets of Benicio del Toro as a Modern Movie Star
Anderson sees Benicio del Toro not just as an actor but as a timeless movie star, someone whose magnetism transcends individual eras of filmmaking. He commented on how classic Hollywood once nurtured and developed this type of singular star power through tight-knit professional communities and near-continuous work at major studios. Today’s film industry, with more fragmented projects and geographically dispersed productions, makes the emergence of such lasting celebrity distinct from what existed in the heyday of studios.
Anderson noted the qualities that made stars like Doris Day and directors like Vincente Minnelli iconic, describing a work ethic and world that differ greatly from today’s cinematic environment. The shift in studio structures and rehearsal traditions, according to Anderson, leaves contemporary filmmakers at a disadvantage in some respects when compared to their forebears. Yet even within this context, Anderson considers del Toro a rare talent who would excel in any decade of cinema.
Musicals, Personal Influences, and Family Connections
Though not initially drawn to musicals, Anderson shared that his daughter’s interest has deepened his own appreciation for the genre in recent years. Films like Meet Me in Saint Louis and The Pajama Game now resonate more personally, partly due to shared experiences watching them together. He suggested that venturing into musical filmmaking might feel daunting but also creatively invigorating due to that unfamiliarity. The presence of his daughter continues to shape new corners of his cinematic interests, including the musical genre, which he now views with a sense of rediscovered curiosity.
The Legacy of Hollywood’s European Expatriates and Visual Influences
Focusing on The Phoenician Scheme’s cinematic backdrop, Anderson explained his fascination with the legacy of European expatriates in Hollywood. Directors such as Michael Curtiz, often working as part of Europe’s creative diaspora, provided a template for the soundstage-heavy, stylized environment that Anderson sought to recapture in his latest work.
“Our movie is a soundstage movie, basically. It’s the way Hollywood always was. I mean, it’s not like they went to Casablanca!”
he explains, referencing the classic’s artificial, yet captivating, production methods.
The film’s intertextuality is apparent throughout, from Casablanca references to overt homage. Anderson even admits,
“That was completely stolen from Robin Hood, 100 percent,”
regarding a scene where the protagonist throws down a deer—a gesture both playful and intentional, linking generations of cinematic history.
Fatherhood and Shifting Perspectives in Anderson’s Recent Work
The theme of complicated family relationships has recurred throughout Anderson’s body of work, from The Royal Tenenbaums to The Life Aquatic. What sets The Phoenician Scheme apart, though, is Anderson’s personal evolution; now a father himself, his narrative approach to the father-child dynamic has deepened. He points out,
“Essentially I’m Benicio’s age. And Benicio has a daughter. [Co-writer] Roman Coppola has a daughter. I have a daughter. Somehow, even though we have the perspective of looking at our own fathers and our own experiences and father figures, it’s no longer just that. It’s now being that. That’s a different thing. And the experience of having a child, it really just sort of changes everything.”
While Anderson acknowledges viewing characters like Royal Tenenbaum and Steve Zissou differently since becoming a parent, he maintains a certain detachment from judgment, suggesting it is more about observing rather than critiquing their paternal missteps. That evolving empathy found in his work stems both from his lived experience and the parallel journeys of his collaborators and actors, reinforcing The Phoenician Scheme’s emotional complexity.
The Egyptian Motif and Personal Ties to the Region
The film’s third act, set in an Egyptian-themed hotel, builds on Anderson’s admiration for ancient art and his familial connections to the Middle East. He explains that Phoenicia (modern Lebanon) serves as both inspiration and context, shaped by his own experiences of integrating into a Lebanese family. Anderson’s wife’s background, including her mother’s time in Cairo and experience with Egyptian cinema, infused the story with cross-cultural resonance.
“Lebanon has a strong connection to Egypt, in particular in the sense of their cinema. The cinema of Lebanon is Egyptian cinema. That’s the Hollywood of the Middle East, or it was Egypt. And my wife’s mother, she left home and went to Cairo, and that’s where she went to university and became a writer. So my connection to Egypt and interest in Egypt kind of comes through Lebanon and through them, I think,”
Anderson explains.
He further describes the enduring appeal of ancient Egypt, noting its repeated reimagining in Western culture and Hollywood. The striking visuals in the latter part of The Phoenician Scheme intentionally summon Boris Karloff’s portrayal in The Mummy, with Benicio del Toro’s costume reflecting the era’s fascination with Egyptian motifs. Anderson clarifies,
“So for us, somehow, they had to end up in a place like that. I think that Benicio, in the last part of the movie, he’s done up to look like Boris Karloff in The Mummy. His costume, his fez, his whole look kind of comes out of that. And I think our hotel is really inspired by Egyptian revival, this period where Egypt was a big public fascination.”
The Role of Bill Murray and Casting Choices
As the interview concluded, Anderson humorously addressed one more casting decision: the role of God. When asked about Bill Murray’s divine cameo, Anderson simply remarked,
“I mean, who else could play it?”
The inclusion of Murray adds another layer of continuity and charm, reinforcing Anderson’s tendency to cast familiar collaborators in unexpected roles.
Anticipation for The Phoenician Scheme and Its Significance
The Phoenician Scheme is currently playing in select theaters, with a wider release slated for June 6. As Anderson continues to explore new artistic directions, the film draws together threads from his earlier works while reflecting his changing perspective as both a creator and a parent. The result is a film where nostalgia, artistry, and personal growth intersect—rooted in cinematic history, shaped by intimate experience, and brought to life by a talented ensemble. Audiences eager for stories rich in homage and heartfelt introspection will find much to consider in Anderson’s latest achievement.
