Mia Threapleton is the newest muse of Wes Anderson.

      Watching a new Wes Anderson film is akin to reaching for a reliable favorite from your closet. You know what to expect, yet it still manages to bring joy. The director's signature visual style, whimsical tone, and recurring ensemble of well-known actors provide a sense of reassurance, but his talent for unique narratives and introducing emerging talent keeps his work feeling vibrant and captivating. His latest film, The Phoenician Scheme, delivers that same experience. It showcases his remarkable use of color, precise set design by Adam Stockhausen, and the Futura font, while a new and quirky storyline, along with its female lead Mia Threapleton, creates an engaging film that balances tenderness with humor. Like previous standout performers in his ensemble (such as Maya Hawke in Asteroid City, Lyna Khoudri in The French Dispatch, and Kara Hayward in Moonrise Kingdom), Threapleton shines among Anderson's Hollywood heavyweights in this espionage dark comedy. At just 24 years old, she captivates as the layered and sensitive Liesl, a nun called back to her estranged father, affluent businessman Zsa-Zsa Korda (played by Benicio del Toro), who intends to name her the sole heir to his estate. However, as Zsa-Zsa embarks on a new business venture, the father-daughter pair, alongside professor Bjorn (Michael Cera), become targets of assassins, international terrorists, and corporate moguls. Threapleton, the daughter of actress Kate Winslet and director Jim Threapleton, first caught our attention with her role as the reserved Honoria Marable in the Apple TV+ series The Buccaneers, returning for its second season this June. Following The Phoenician Scheme's premiere at Cannes earlier this week, it's clear that she has a bright future ahead.

      What was the first Wes Anderson film you watched, or which one left the biggest impression on you? I can answer that in two parts. The first Wes Anderson film I saw was Fantastic Mr. Fox in 2009. I remember listening to the audiobook during long car trips as a child. The first film that truly resonated with me was Moonrise Kingdom. It was released when I was 12, and I recall being completely dazzled by the story, the visuals, the acting—everything about it. It remains one of my all-time favorite films. I recently had a somewhat sentimental conversation with a very close friend who gave me the same answer.

      As a fan of Anderson's work, how does it feel to experience his world now as an actor rather than an audience member? It's fascinating because he has such a distinct style that you can recognize his films from miles away. Having worked with him, it was incredible to see how he sets everything up and creates a film. It all made perfect sense. It's not solely about style; yes, he has his unique way of doing things, but the simplicity of it is much clearer when you're a part of it. It's all very structured. He provides everyone with an animatic, a simplified animated storyboard of the film's story. So, each day when we arrived at work, we would know, "Okay, this is what we're doing today." However, even with that framework, we had a lot of creative freedom to say, "We have this scene—let's see if we can try this other approach as well," because we had a plan. It was honestly brilliant.

      Regarding the meticulous set design known to be a hallmark of Anderson's films, was there a particular set or location that you found particularly enjoyable to perform in? We didn’t have many outside studio locations to work with. I’m trying to think of which ones were actually out-of-studio. The jungle scene was definitely notable, which was filmed in a forest near where we were staying—often humorously referred to as the "German jungle." We also had the desert, which served as a couple of different locations. When I first arrived, I felt like I had stepped directly into his world. For my initial costume fitting, I needed to go to Rome, where Milena Canonero, the costume designer, was based. I spent a full day there for fittings, thinking, "Wow, this is it! I understand now." There was no detail overlooked in anything at all.

      I recall during the rehearsal process, where I spent about two and a half weeks with Michael Cera and Benicio del Toro, just the three of us working alongside Wes in a spacious rehearsal area at the studio. Walking into the soundstage for our first meeting, which I believe was scene six where Zsa-Zsa, Liesl, and professor Bjorn were all together, I was completely taken aback—pardon my French—"Holy fuck! How did anyone create this? Where are we? This isn't Germany anymore. We're in another world." I truly must commend Adam Stockhausen, who is the mastermind