A ‘Scheme’ hatched just for Benicio del Toro: ‘It’s a hell of a gift’

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Benicio del Toro was thrilled and deeply honored when director Wes Anderson reached out to ask him to portray a painter in his 2021 film, “The French Dispatch.

I had a moment of surprise, as if to ask, ‘Does he realize I’m the one he’s speaking to?’ Del Toro, clad in a casual puffer jacket and cap, expressed this bafflement at a Beverly Hills hotel with a puzzled expression. This was due to the fact that his films tend to differ from those of others, as in most of them, characters die violently and don’t rise again.

As a cinephile, I’ve always admired Guillermo del Toro for the raw realism he infuses in his movies, such as “Sicario” and his Oscar-winning role in “Traffic.” However, when Anderson invited him to join the intricate universe of his films, Del Toro referred to it as “theatrical,” indicating a fresh direction for his artistic journey.

Del Toro, 58, voiced a wish to stay longer in Anderson’s carefully designed universe after feeling captivated by it, and his Boricuan accent lent a rough quality to his speech even in English.)

At a glamorous dinner during the premiere of “The French Dispatch” at Cannes Film Festival, I, a passionate cinephile, had the pleasure of crossing paths with Guillermo del Toro. It was there that Wes Anderson hinted at a new project he had in mind, specifically tailored for Del Toro to shine. Two years later, the intrigue was reignited as I received the first 20 pages of “The Phoenician Scheme,” Anderson’s latest masterpiece and one of his most poignant and visually striking works yet. This week, it premieres at Cannes Film Festival and will be gracing our screens on May 30th.

Del Toro portrays Anatole “Zsa-zsa” Korda, a cold-hearted 1950s tycoon embarking on an intricate, globe-trotting mission to safeguard his fortune. He tries to draw his distant daughter Liesl (Mia Threapleton), who is a nun, into the role of his unwilling heir. As Korda navigates the world with a price on his head, he’s involved in numerous business transactions with influential figures. However, what Korda longs for most is Liesl’s forgiveness.

According to Del Toro, Wes’ writing was filled with wisdom, which greatly benefited the character. However, he wasn’t certain if it would follow a pattern similar to ‘The French Dispatch,’ where one character’s story concludes and another begins. Gradually, he realized that this wasn’t the case; instead, it encompassed the entire narrative.

As a devoted cinema enthusiast, I’d frequently touch base with Guillermo del Toro while he was crafting the remainder of the script. In due course, I’d receive the following 15 pages or so. Occasionally, I would revisit and refine parts that I had previously shared. Gradually, the entire narrative began to crystallize.

Anderson believes he possesses an extraordinary, captivating aura that seems ideal for a film, as expressed in his emailed responses. He’s incredibly gifted and intriguing, and moreover, he wanted the opportunity to collaborate with him once more.

As a passionate cinephile, I find it fascinating to see how directors like Del Toro can transform even minor roles into unforgettable cinematic moments, as seen in his gripping portrayal of the guilt-laden, despairing yet enraged inmate in “21 Grams.” This time around, it was refreshingly unusual for him to step into a leading role – an opportunity I’m sure he relished.

“It’s a hell of a gift,” Del Toro says with a deep sigh.

He says with a hint of gravity, yet still flashing a wistful smile, “Just as the Greeks say, ‘I hope all your dreams manifest.’ It’s not merely a matter of wearing it and being done. It requires effort, attention, and sacrifice. You’ll need to give up certain things. However, in our line of work as actors, we yearn for opportunities like Zsa-zsa and ‘The Phoenician Scheme.’ They don’t come along frequently.

In a surprising manner, Korda was a person filled with warmth, often laughing and always showing genuine interest in the individual opposite him. At one instance, he encouraged me to try acting to experience it firsthand. For Del Toro, Korda was a character rich in contrasts and transformation. Having portrayed morally ambiguous men like Pablo Escobar, the Colombian drug lord, and Che Guevara, the controversial Argentine revolutionary, Del Toro didn’t shy away from embodying an unethical businessman who amassed his wealth through exploitation.

He points out that each century has produced influential figures who have impacted the world in some way, not necessarily for good. Interestingly, we made this film prior to the current climate situation and all the trade issues. Our focus was on men such as Aristotle Onassis, Howard Hughes, or William Randolph Hearst.

In “The Phoenician Scheme,” Anderson’s mental image for Del Toro was reminiscent of the sophisticated flair commonly associated with influential Italian movie producers, such as Dino De Laurentiis and Carlo Ponti, who were often seen in stylish attire and sunglasses.

Anderson suggests that he might belong to a group of individuals who, with their substantial wealth and relentless ambition, could confidently take charge of decisions impacting many people, shifting massive resources, and transforming landscapes.

Besides prominent business leaders, Anderson’s father-in-law, Lebanese engineer Fouad Malouf (who the movie is dedicated to), played a significant role in inspiring the director. He refers to him as an “amazing, insightful individual” whose exterior could appear daunting and off-putting.

But what motivates a character like Korda?

According to Anderson, he’s comparing the situation to a game of chess where everything and everyone are like chess pieces. He suggests that people are being used as resources by them, following their internal guidance which they believe is beneficial for the world. Interestingly, he points out that the ‘them’ in this context is often male.

Anderson suggests it’s understandable that some people may see similarities between Korda and influential figures such as Jeff Bezos and Elon Musk, whose impacts on contemporary culture are significant and far-reaching.

Anderson concurs, “Everything seems to follow a cycle.” When drawing inspiration from history, you often find that you’re looking back at yesterday or peering ahead to tomorrow. So, it’s not unusual when we realize, ‘Ah, this is how what we’re doing relates to the present.’ It just happens naturally and as it should.

What fascinated Del Toro was the transformation in Korda’s journey – from being a hard-nosed businessman to a person striving for redemption, having survived numerous assassination attempts, that hinted at a shift towards hopefulness.

Del Toro explains, “He’s a person just like everyone else, and people often err, but I believe he becomes a better individual in the end. Despite losing everything, I think he finds more happiness. Acting out characters who undergo such transformations is always intriguing to bring to life.

Delighted by Anderson’s gift, Del Toro embraced the role with its unique blend of humor, seriousness, and raw emotions. The performances in an Anderson film often have a heightened, dry wit, and while Del Toro adapted to this style, there was no shortage of authenticity in portraying Korda’s feelings.

Scattered throughout the narrative are black-and-white “spiritual visions,” as Anderson refers to them, where Korda experiences himself in a heavenly realm seeking redemption for his wrongdoings and even conversing with a divine entity. (It’s not revealed who usually portrays this divine figure in Anderson’s works.) Despite being an atheist, Del Toro considers these dreamlike sequences as Korda’s effort to heal his own emotional scars.

Born with religious upbringing, Del Toro was educated at a Catholic institution during his childhood years, yet his personal connection to religion remains complex. He expresses, “I’ve walked my own path through it, where I turned away from it and then returned, but I do identify as Catholic and I believe in a higher power.

In a Wes Anderson movie, there are intricate technical requirements for playing the lead role. Guillermo del Toro often abstained from socializing with the other cast members during meals to focus intensely on the next day’s scenes. Memorizing his lines was crucial.

Del Toro explains, “The conversation flows smoothly, much like a well-oiled machine. If any part is removed, it loses its essence, for his words are delicately crafted with a fine brush, and they are meticulous.

At some stage, Del Toro contemplated whether to excise a monologue detailing Korda’s background with a domineering father, but subsequently recognized that such episodes lend depth and authenticity to the character.

He comments, “I had the thought, ‘Is it necessary?’ However, given our focus on analyzing a relentless businessman with a developing storyline, I can see why it’s beneficial. It adds depth.” And indeed, such instances are pleasant.

After his parents’ divorce at age ten, Anderson found himself struggling and acting out. However, one of his teachers came up with a creative solution to address his disruptive behavior in class by offering him opportunities that catered to his interests.

He remembers that for every ten consecutive days of good behavior, she would allow him to stage a play he wrote himself, knowing his love for creating small plays. This became his driving force, and he wrote several plays in fourth grade. Reflecting on this now, I believe it significantly contributed to my later interest in filmmaking.

At his kindergarten graduation, it was Del Toro’s turn to deliver a speech while donning a police uniform.

As I scanned the sea of faces in the crowd, my heart swelled when I spotted my kin among them, grinning broadly. A vivid recollection flashed before me – a glimpse of my cherished cousin occupying that very spot, brimming with anticipation and anxiety.

“Glancing across the audience, there they were – my family, filling me with pride,” I reminisced, flashing a warm smile. “I could picture my cousin, seated right before me, a whirlwind of excitement and apprehension.

It was after learning from a teacher that acting could be learned, not just something you’re born with, that inspired him to take up the craft. Winning a scholarship to the Stella Adler Conservatory confirmed his choice. Del Toro feels he has grown and improved as an actor since his early days in the profession.

As a cinema enthusiast looking back, I must admit that I held a slightly more skeptical viewpoint during my younger years. However, I can confidently say that I’ve evolved quite a bit since I was 28 – an age particularly significant as it marked the release of my breakthrough performance in “The Usual Suspects.

I asked him if he believed the change was beneficial, and he replied, “I’d prefer to think it was for the best,” he chuckled, “but someone else should make that call.” Although he may have been modest at the time, in retrospect, Del Toro acknowledges that he made the right decision by holding firm to his ideological beliefs as a young man, despite his family’s concerns about his future.

In this town, when you, an actor, attend auditions after moving here, you’ll encounter various factors that might make you feel uncomfortable, such as your name, appearance, and voice. Additionally, being of Latino descent may initially give you a slight disadvantage.

As a film aficionado, I’d express it like this: With an astonishing adaptability, he immerses himself into characters from diverse ethnicities and backgrounds, a skill that reminds me of the legendary Anthony Quinn, the Mexican-born actor renowned for “Viva Zapata!” and “Lust for Life.” This comparison leaves Del Toro momentarily speechless, but eventually, he manages to voice his admiration.

He remarks, “That’s a compliment.” Upon hearing it, the initial thought that crossed my mind was, “Does this describe me?” Yes, in a sense I can relate because I’ve been in similar situations. If he insists on only portraying Mexican characters, he would have had to wait for years to get more roles. Anthony Quinn, however, infused life and power into minority roles; he played a diverse range of characters.

This year, you’ll find Guillermo del Toro starring in Paul Thomas Anderson’s movie titled “One Battle After Another.” Previously, they worked together on the 2014 film “Inherent Vice,” where Del Toro had a minor role. However, this time around, he will share more screen time with Leonardo DiCaprio in many of his scenes.

Del Toro expresses his good fortune in collaborating with both Andersons. He recounts his journey from Babelsberg, Germany, directly to El Paso for ten days, and now he’s eagerly waiting to observe the public’s reactions to the upcoming movie.

He’s open to discussing his friendship with PTA, which spans over many years, yet he’s rather tight-lipped about the movie itself. However, he’s thrilled to have a larger role in this project, hinting that longtime collaborators are now delving deeper into Guillermo Del Toro’s acting abilities.

On Del Toro’s agenda, you’ll find collaborating with Martin Scorsese and Quentin Tarantino. It’s quite evident how his acting style aligns perfectly with the gritty, violent crime narratives that these filmmakers are known for.

Del Toro mentions some directors he’d love to collaborate with, but he finds it tough to approach them and ask, ‘Could I appear in one of your films?’ He admits he hasn’t been the type to make such requests before.

If the phone rings, however, he’ll commit. Might be good to bring a tailor-written leading role.

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2025-05-15 13:32