Standing out in a Wes Anderson film ain't easy. Standing out in Anderson's latest, "The Grand Budapest Hotel" (out this Friday in select theaters), is nearly impossible.
Dating back to "The Royal Tenenbaums," the filmmaker has stocked his work full of revered Hollywood players. With "The Grand Budapest Hotel," Anderson outdoes himself, employing the likes of Ralph Fiennes, Tilda Swinton, Jeff Goldblum, Adrien Brody, Saoirse Ronan, Bill Murray, Jude Law, Harvey Keitel, Edward Norton and more. Fiennes is the clear lead of the film as Monsieur Gustave, the legendary concierge of the film's title. Out of the secondary players, Willem Dafoe steals the show. That he does so with very little dialogue, speaks to his skill as a performer.
Indiewire sat down with the actor in New York to discuss his scene-stealing role as Jopling, a tattooed, leather-clad hitman, working with Wes Anderson for a third time (he previously appeared in "The Life Aquatic" and "Fantastic Mr. Fox), and his relationship with Lars von Trier, who recently directed him in "Nymphomaniac" (Vol. 1 is now available On Demand).
Jopling steals every scene he's in. His wardrobe is outrageous. Did you have anything to do with that?
Well it was pretty much proposed to me. Wes knows me. He asked me to do it very early, he showed me the lines very early, and there wasn't any input needed. It was beautifully made, done. So my job was more to inhabit it, and once we got there, he was very strong, he's very clear. You know your biggest job is getting, doing, what he sees. You don't use so much energy on finding it because it's very precise.
You've worked with Wes before. Does he afford his actors freedom on set, or is his method of directing you as precise as his visual aesthetic?
I feel terrific freedom, because I feel freedom in structure. I mean everyone's different, but you always hear that people think that improvisation is the absolute, biggest treat an actor can have. This, this is the easy stuff, this is the grunt work. The real beauty is in inhabiting and being there. So when all that stuff is done for you, I don't know, I just think that's closer to performing than anything else.
I think also people aren't quite down with artifice, and for me, I'm fine with it. Because I think naturalism is... you get distracted by a certain kind of charm and a certain kind of recognizable personality. It's naturalism that keeps you away from seeing what's really going on. But when something is foreign because you don't see it in life, it's created, it doesn't exist in real life, then I think it creates a different kind of awareness and a different kind of consciousness and a different kind of appetite to go to someplace else that you don't know. So, me, I just like serving that kind of vision.
That's a long answer for a very simple question, but it has to do with. There are huge pleasures and there are huge freedoms in having a strong structure.
How you would compare working with someone like Wes Anderson, with someone like Lars von Trier.
There are similarities, but there are probably more differences. You know, their interests, they have a different kind of cinema, but they both have very clear visions, their ways of working are very different. Wes likes to shoot a lot, he's very obsessive, and he works things out ahead of time. Lars prohibits rehearsal, because he wants the actor off-balance and he wants the actor to be fresh, he doesn't want them to be able to deliver a performance, he wants the performance to happen. I mean that's my interpretation of it, but he really doesn't want them to rehearse. Also, the camera is more fluid, some shots are very designed but they're huge signs.
In the sequences in Lars' work where the camera moves, you don't even know where it is, and he really believes you can cut anything to anything so he doesn't shoot conventionally. Wes doesn't shoot conventionally but he does shoot in a very formal way. He really knows the frame, while he may have these wildly athletic camera shots, it's quite built. He plays very little with chance.