I'm interviewing Wes Anderson's Manhattan Hotel to enjoy the stunning views of Central Park from the window. However, what is imminent is the Trump International Hotel and Tower, one of the many prominent buildings the President has spread all over the world. I won't notice, except for Anderson's new movie, Phoenician Project,,,,, It's probably a tycoon who has a lot of pots in his hands: weapons trading, manufacturing, large-scale infrastructure projects. When conceiving the role, a businessman named ZSA-ZSA Korda (played by Benicio del Toro), the director told me that he was thinking about a more old-fashioned European tycoon, Aristotle of Aristotle of Aristotle onassis Onassis of onassis of onassis of onassis of onassis of onassis or of to inassis of oon of but “I think everything is filtering,” he laughs. “We’re all reading the same newspaper.”
Anderson (unfairly) wins the maker of the irritating little movie diorama, who she has carefully designed but is relevant to reality. But his work clearly responds to modern life: his former characteristics, amazing Asteroid cityis a fascinating drama about a space-era desert town that encounters aliens, which also manages to capture the feeling of being locked in the early days of the coronavirus pandemic.
Anderson wrote Asteroid city In isolation, it seems to be directly understood about its feelings of anxiety and claustrophobia. (“Your imagination is responding to any stimulus in the world,” he told me.) Phoenician ProjectBy comparison, It's light and Zany's, as Korda launches crazy dash globally to save his reduced wealth. As I pointed out to him, it also apparently seemed to be caused by the stupidity of the rich land baron today.
I fear he would deflect this comment - Anderson often talks about his writing process somewhat mysterious, in which case he moves between scenes in a way that surprises himself. But he points out the strange way in which the more serious subject matter intersects with his otherwise pleasant quirky story. The film has been found in transportation for most of the time, usually by planes, even after multiple crashes that could be due to the possible assassin, which makes him increasingly anxious about the number of times he can make it alive. But Corda has a firm preference for flying travel, aiming to reflect his social status. Anderson said the planes have become the ultimate symbol of wealth and power: "Now," he observed, referring to the $400 million aircraft recently given to Donald Trump, "we have 747 from Qatar."
If reality is "filtering" to Phoenician Projectit is transformed by the usual Andersonian layer bundle. Movie The cold-blooded whimsical demands that the audience take root in a ruthless person, who gradually strives to understand some deeper human truths. It follows Korda and his estranged daughter Mia Treeapleton, a new nun who insists on the immorality of her father's business interests, whose business interests are hungry and poor.
Korda claims to be uninterested in Liesl's attention, but when he rushes from a country to avoid assassination attempts and strong companions, Anderson allows his protagonist's heart to grow into a juvenile little bit: "My initial impression of what we are about to do is a ruthless, cruel, powerless man, who is entirely part of himself, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him, and it's part of him Then he writes the first scene, surprised to find it even more ridiculous: a ridiculous action clip in which Korda's secretary is blown up halfway, and Korda has to land a crashed plane alone. "I do feel a little bit like you start writing, have your preconceptions, and then it starts telling you what it wants to be," Anderson said.
Phoenician Project therefore Become a more interesting and stranger, in which Korda's cruelty is quietly moderated by his daughter and his self-evident fear of death. Whenever his brush is almost expiring, Korda is pulled into a surreal black and white world where he is played by otherworldly beings (including God, Bill Murray, wearing a white robe and a beard). When he tried to convince other tycoons (played by other familiar members of Anderson's ensemble, such as Brian Cranston, Jeffrey Wright and Matthew Amorick), to help him fund his ambitious infrastructure, Corda began to capitalize on his otherwise missing branches.
As he did with Korda, Anderson introduced captains of these competitive industries in ridiculous situations, such as in high-stakes basketball games and dramatic nightclub shootouts, to their roles. "These big guys, they're cartoons," Anderson said. "They always have bias and particularity because they can do whatever they want." But his inspiration goes beyond famous faces outside of Onassis or the legendary oil middleman Caluste Gulbenkian, and is his own father-in-law: Fouad Malouf, a Lebanese engineer. This was upset with Corda's professional interests and his attempts to build a relationship with Liesl: at some point when his life was about to end, Malouf collected a series of shoes throughout his career and explained their content to his daughter. Phoenician Project Repeat the shoe box image. Even with his weirdest story, Anderson said, “It became more personal without even my intention to do that.”
The most engaging challenge in this movie, at least for me, keeping the spiral energy high, and otherwise be aware of Anderson's specific style. Each group was carefully assembled, with each lens blocking aligned perfectly, and Anderson’s rat conversation was delivered completely in writing. Still, storytelling and the world it is experiencing is spontaneous. Anderson's location references real places, but they are always excited and new, never derivative.
The director’s special approach – a way to avoid in a live trailer, putting all the actors together (including dining together and staying in the same hotel), and moving to the scene quickly – is unusual for large-scale filmmaking. But Anderson clearly cheered the performers’ enthusiasm for the process and how his new members performed in the player family. Michael Cera (as a wealthy Norwegian teacher employed by Korda) and Riz Ahmed (as Prince Firk is the heir to the fictional Phoenix country, which is crucial to the plot), are two big additions to Anderson this time, while the filmmakers say both actors are comparable to aplomb. It shows-they capture the typical arch of the director's character comfortably among Anderson's stalwarts.
The performance of Del Toro is the most critical component Phoenician Project;This is the first Anderson movie since Budapest Hotelstarring Ralph Fiennes. Del Toro has been at Anderson as Corda from the start French dispatch. Anderson remembers his tone to comedy, with a vague degree of exaggeration: “I told him there are some Buniel aspects.”
When I tried to describe Del Toro to Anderson on screen, I ended up citing his "Whatw" (American I don't know what). Del Toro's early characters (1990s cult movies, e.g. The usual suspect and Excess baggage) Hit the copy Marlon Brando: all the moves, muttering to the charm and dizzy chaos. But over time, the actor has learned to convey decades of regret and the darkest emotional headspace, with his face barely flashing. That's the power he's present, or, as Anderson agrees, his "no matter what."
This is not the first time Anderson has written with an actor. As we spoke, he mentioned the late Gene Hackman Royal Tenenbaums. Hackman's character Royal Tenenbaum is another strong father figure who is as outstanding as Korda. But Anderson wrote him on scripts twenty years ago, and then he became a parent. I asked him if he had changed his investigation into his father's crimes and he nodded. “Tenenbaums He said: "It's entirely from the perspective of looking up at the old man. Phoenician Project The strike of reaching balance: It is wise, it has the looser stupidity that middle age brings, but it is looking up at the characters of the ambitious fathers, the tycoon still has no, awe and fear.