The AsteroidCity star discusses Wes Anderson’s highly detailed directing style, and the unexpected film genre she’d like to pursue next.
Some of that sounds pretty intense!She’s a very calm person, very professional. And she’s warm. She’s grounded and observant. When something goes awry or is not communicated well, she takes the time to stop everything and clear things up. That’s important for younger people like me to take on when we blossom ourselves.
I imagine Wes Anderson’s style must be precise. Like, when Dinah is in the diner with her mother and you’re framed side by side at the counter, in a deep shot. Wes gives little bits of what he is looking for. Sometimes he would tell you, maybe don’t blink as much, or have a certain eyeline and keep it there. Then as you go on, he might add or take away. It was precise and intentional—everything is measured and calculated.Another challenging scene that comes to mind is the name game, where the Star Gazers gather in a circle and recite increasingly long lists of historical names.
We tried many different things while shooting that. We had the names all memorized, and they were not the same in the beginning—they were mostly movie stars and singers from that era. But Wes and Roman [Coppola] decided that they wanted more complicated names, names that you really never heard before.. How did you two strike up a bond?
We did rehearsals together for our scenes, and I he and I got along very well. We had many good discourses, and we would play chess together and discuss films.Photo by Nina Westervelt/Variety via Getty ImagesI would like to think of it as a milestone. I took a lot with me from that set, and I’m hoping I can apply those lessons to all sorts of different things. I would like to do more European films, because I like their stylization and their stories.
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