'The Grand Budapest Hotel'
'The Grand Budapest Hotel'

If you think Saoirse Ronan and Tony Revolori make a cute couple on screen, canoodling as baker's daughter Agatha and "lobby boy" Zero in Wes Anderson's "The Grand Budapest Hotel," you should get a load of the youthful pair in person. Meeting me and a handful of other journalists in a hotel in Berlin, where "Grand Budapest" both opened the 64th Berlinale and picked up the festival's Silver Bear, Ronan and Revolori alternately praised and chided each other without pause, as if enacting a cheerier, junior spin on "The War of the Roses." When not finishing each other's sentences, the co-stars—who joined the likes of Bill Murray and Ralph Fiennes in an inn during their Görlitz, Germany shoot—playfully called each other out on their snafus, like that time Ronan wasn't ready for a going-away party, or that time Revolori really wasn't so sad he beat out his brother for his role.

READ MORE: Wes Anderson On Developing 'The Grand Budapest Hotel' and What He Hates Most About Hotels

It's particularly interesting to see Ronan match wits with a first-time young actor, considering the Oscar nominee, 19, is only two years Revolori's senior, but has become one of the most tireless and revered talents of her generation. (If nothing else, their even-keeled rapport speaks well for Revolori's future.) But enough of that foo-foo crap. It's time to talk about binge TV.

On "Breaking Bad":

Saoirse Ronan: Tony loves "Breaking Bad." He finished "Breaking Bad" in a week.

Tony Revolori: It's true. All the time, on set, I heard Wes and Saoirse saying, "'Breaking Bad!' 'Breaking Bad!'" And I had one week off so I'm like, "Click! Netflix!" I think Saul's the best character.

Saoirse Ronan: Saul? Better call Saul! I love Saul, but I don't know how I feel about the spin-off. I was very content with how the show ended. And I didn't cry during the finale!

Tony Revolori: I did. But I always cry during any show's finale, so...

On whether or not they get emotional watching their own work:

"I don't like watching anything that I'm in, but I did cry watching 'Grand Budapest.'" -- Ronan

Saoirse Ronan: I have cried before. I don't like watching anything that I'm in, but I did cry watching "Grand Budapest," at the end, when it cuts to F. Murray Abraham, from the left, and he's talking about Agatha. That really made me quite sad.

Tony Revolori: You know, Wes wouldn't let me see anything else he was shooting except that scene.

Saoirse Ronan: Because he wanted you to understand how much he loves her!

Tony Revolori: Yeah. And the scene with me and Ralph when he breaks out of prison was moving. It was a great scene when we shooting, and we practiced it quite a bit, because it's the moment when things change from protege and teacher to brothers-in-arms. 

On what we didn't see of Zero and Agatha's romance:

Saoirse Ronan: The childbirth scene, perhaps? Ha! I wonder what our kid looked like. A little Wes—a little tanned Wes.

Tony Revolori: A tanned Wes, huh?

Saoirse Ronan: And Agatha's death. That was two years after the wedding, right?

Tony Revolori: No, I heard it was two years after Ralph's character's death. That's what I remember Wes telling me.

Saoirse Ronan: It was two years after all that stuff happened. You know what you're talking about.

On the expectations of being first-timers on a Wes Anderson project:

Tony Revolori: I'd seen most of his films—"The Darjeeling Limited," "Fantastic Mr. Fox," "The Royal Tenenbaums." And now I've seen them all. And I was expecting something special, but he kind of took it to a whole new level, and I don't think anyone could've expected what happened being as big as what it was. But, then, the script was so amazing, and everything was so detailed, you could kind of picture it.

The Grand Budapest Hotel
"The Grand Budapest Hotel"

Saoirse Ronan: Yeah, and we saw all of the animatics, and he pieced it all together, and he had a storyboard for almost every single shot in the entire film. And he voiced all the characters himself.

Tony Revolori: So you would see the scene of me giving Agatha the note, and you'd see the drawing of me going in and out of frame, and Wes is voicing it all. It was amazing and very helpful.

Saoirse Ronan: And he drew all the storyboards?

Tony Revolori: No. The storyboard artist was someone else.

On getting down the rhythm of Wes Anderson dialogue:

Tony Revolori: There are very many beats to it, so...

Saoirse Ronan: It was definitely Wes, though, who enforced that.

Tony Revolori: Yeah, but once you've been on set, and you're shooting for a while, you kind of get into that rhythm yourself. You're in that flow, and it's actually tough to get back out. I remember when I went back home, after fuming and everything, I would still talk like that. And people made fun of me for a bit.