The Phoenician Scheme Projets names his favorite films of Wes Anderson [Exclusive Interview]

You three obviously share a lot of screen time and it somehow looks like a short film in the film. Has Wes already shared his inspirations, influences or touch stones with you to perfect your performance and the tone and emotivity that he was looking for?

Del Toro: One of his inspirations for ZSA-Zsa, who was a famous billionaire in the turn of the century, was an Armenian businessman called Caloute Gulbenkian, and he mentioned me. We even talked about [Luis] Buñuel too, the filmmaker. [Looks at Mia] Yeah, did he tell you about …?

Thepleton: He didn’t tell me about specific reference points at all. He sent me visual references for things, for green tights or green stockings, that kind of things. I mean, I had formulated a small list of tasks during my preparation time before arriving in Berlin and we had Germans if he had something to add to that. And he didn’t do it, really, but we talked about every point. As I went, something appeared. I said, “Oh, I discovered this thing.” And then he said: “Oh, great. In fact, let’s do a little more research on this subject, really.” Where he asked me to do my [character’s] file that we see. This came out of my brain, and he asked me to collaborate with the accessories department, and I did not expect it to happen. My whole kitchen floor looked like a murder investigation for a while.

Cera: It’s incredible.

Thepleton: It was very weird.

Del Toro: It’s cool.

Cera: It’s a lot of work.

Thepleton: It was fun. It was very fun, however.

Cera: We didn’t really talk about films as a touchstones, but it was not necessary either, because it was so alive. And when you introduce yourself, Wes and [costume designer] Milena Canonero has already understood what you are going to wear and you see what the sets look like. Wes played the Stravinsky room for us.

Thepleton: Oh yes, he played this piece of music for us.

Cera: it therefore gives you a big idea of ​​the kind of film you make. But you also know who you work with and have read this script and you know its own filmography and the language is simply clear. And also what is exciting is what is new for Wes in this kind of film – this palette and this world – and you are just trying to bring something new closer.