In the world of Hollywood, Tony Revolori, a 17-year-old newcomer, embarked on the journey of filming Wes Anderson’s “The Grand Budapest Hotel.” With limited experience in the industry, Revolori received valuable advice from Jason Schwartzman, a seasoned member of Anderson’s troupe.
Schwartzman, who had his breakthrough at the age of 17 in Anderson’s “Rushmore,” understood the challenges that Revolori would face acting alongside Ralph Fiennes. Taking Revolori aside, Schwartzman shared his wisdom: “None of this is going to make sense until you’ve actually gone through it. Your life is about to undergo both subtle and drastic changes. However, if you surround yourself with the right people, you’ll be just fine.”
While Anderson’s recurring ensemble, consisting of names like Bill Murray, Adrien Brody, and Owen Wilson, often receives attention, many young actors find themselves stepping onto Anderson’s sets for the first time, experiencing the art of filmmaking, particularly Anderson’s distinctive and elegant style.
Ever since Jason Schwartzman’s breakthrough in “Rushmore,” Wes Anderson’s films have served as nurturing yet surreal environments for young actors, offering them a unique rite of passage. Anderson’s productions stand out for their communal atmosphere, featuring nightly feasts that foster a sense of camaraderie akin to a summer camp. For these budding performers, the experience can be an exhilarating education.
Grace Edwards, one of the newcomers in Anderson’s latest film, “Asteroid City,” describes it as one of the most transformative learning experiences she has ever had. The film brings together multiple generations of Anderson actors, including Schwartzman and Tony Revolori, along with a fresh crop of young talents. They come together like a team of homegrown all-stars, adding to the joy of the project.
For Schwartzman, this reunion harks back to his audition for “Rushmore” and serves as a reminder of Anderson’s exceptional approach to working with young actors. Even then, Anderson valued their opinions, as evidenced by his request for Schwartzman’s input on a wardrobe item as he left the audition room.
Reflecting on his experience with Wes Anderson during his “Rushmore” audition, Schwartzman recalls a particular moment that struck him as peculiar. Anderson asked for his opinion on a wardrobe item, and as Schwartzman provided his answer, he realized something extraordinary: It felt strange because, at that age, no adult other than his family had ever asked him a question and genuinely listened to his response. Anderson, though an adult himself, was able to establish a connection that transcended the typical adult-child dynamic.
In the years that followed, many young actors who have been a part of Anderson’s films, often in significant roles, have encountered similar instances. For instance, Jake Ryan, who was only seven years old at the time, portrayed a younger brother in Anderson’s 2012 film “Moonrise Kingdom.” These young actors find themselves immersed in an environment where their voices are heard and valued, allowing them to have meaningful experiences that go beyond their age.
Now 19 years old, Jake Ryan, who was part of Anderson’s “Moonrise Kingdom” at a young age, reflects on his experience, expressing a sense of comfort and belonging on the set. He may not remember all the details, but the feeling of being at home remains vivid. It left him with a cozy and warm impression.
In Anderson’s upcoming film, “Asteroid City,” there is a notable emphasis on multiple generations. The narrative revolves around a fictional town in the Southwest during 1955. The central characters include Augie Steenbeck (played by Schwartzman), a widowed war photographer, and his intelligent son Woodrow (Ryan, making his third appearance in an Anderson film). They are accompanied by Augie’s three younger daughters.
While the family is set to visit their grandfather (played by Tom Hanks), their plans are momentarily interrupted by a stargazer convention commemorating a meteorite impact. The event attracts not only enthusiasts but also a renowned movie star (Scarlett Johansson) and her daughter, who possesses remarkable intelligence (portrayed by Grace Edwards).
Within Anderson’s films, the adult characters grapple with pains, regrets, and melancholy, while the teenage characters navigate their own intricate experiences involving love, death, and the bonds of friendship.
Interestingly, in Anderson’s cinematic universe, the younger characters often possess a level of maturity that rivals, if not surpasses, that of the adults. Characters like Gene Hackman’s Royal Tenenbaum in “The Royal Tenenbaums” or George Clooney’s Fantastic Mr. Fox in the eponymous film are far from exemplars of maturity. In “Moonrise Kingdom,” Kara Hayward and Jared Gilman portray a pair of 12-year-old runaways who engage in a whimsical romance while swaying to Françoise Hardy’s “Les Temps de l’Amour.” In “The Grand Budapest Hotel,” Revolori’s character, Zero, serves as the loyal sidekick to Ralph Fiennes’ flamboyant concierge, M. Gustave.
In “Rushmore,” Schwartzman’s Max and Bill Murray’s Herman Blume may have a significant age difference, but they are equal rivals in matters of love and revenge. At the start of filming, Schwartzman queried Anderson about why his character idolized Murray’s, seeking a deeper understanding of
Schwartzman fondly recollects a conversation he had with Anderson during the filming of “Rushmore.” When Schwartzman asked why his character looked up to Bill Murray’s character, Anderson provided an unexpected response: “Well, I don’t think he looks up to him. I think he sees eye-to-eye with him.” This encapsulates the intriguing nature of Anderson’s films—they are not strictly for kids, yet they possess a certain quality that resonates with audiences as they mature. They seem to be movies that are meant for kids to appreciate when they grow older.
During Grace Edwards’ audition for “Asteroid City,” Anderson had her read from “Moonrise Kingdom,” taking on the roles of both the 12-year-old Suzy and her mother, portrayed by Frances McDormand. Once she secured the role, Anderson provided her with books on 1950s Hollywood and suggested films to watch, including those featuring Jodie Foster. Anderson believed that Foster’s sensible and charismatic on-screen persona aligned with the character Edwards was portraying, allowing her to gain a deeper understanding of the role.
Revolori describes Anderson as almost a surrogate father figure. Even after “The Grand Budapest Hotel” was released, they maintained regular communication through email. Revolori greatly relied on Anderson’s guidance and advice in navigating his career and making important decisions. Their relationship goes beyond a director-actor dynamic, reflecting a deep level of trust and mentorship.
“I believe he takes pleasure in collaborating with young performers, discovering their talent, and providing them with opportunities,” Revolori expresses, chuckling. “I am immensely grateful for it. It undoubtedly propelled my career.”
“People like Tony, Jake, and Grace,” Anderson himself remarks, “are incredibly prepared. Yet, they possess youthful minds. Their brain tissue is fresh and vibrant. They have exceptional script knowledge, ready and amplified. Furthermore, they are captivating beings, almost like exotic animals. We have never encountered anyone quite like them before. They are young, still shaping their identities.”
Anderson’s young actors often remain unaware of what he sees in them. However, his youthful protagonists consistently embody cleverness and precociousness, serving as reflections of the director himself—an intellectual child of divorce who always carried a Super 8 camera.
“One thing that truly resonated with me was when he said Woodrow, and the other stargazers, are highly intelligent,” Ryan reveals. “But it is this very intelligence that sets them apart from their peers. All five of them experience a sense of loneliness. Yet, upon meeting each other, they realize, ‘Wow, everyone is like me. This is how it’s meant to be.'”
More often than not, the actors chosen by Anderson are similarly filled with passions and curiosities, capable of delivering dialogue with precision. Edwards envisions herself acting in films similar to the European ones she and Anderson discuss.
“After leaving the set, it felt strange,” confesses Edwards, who resides in Bismarck, North Dakota. “I can’t compare it to a soldier returning from the frontlines, but there is a certain similarity.”
Now 27 years old, Revolori has been hesitant to assume the role of a mentor, despite his continued involvement with Anderson’s projects, including “The French Dispatch” and “Asteroid City.”
“I always feel like I have to prove myself in his films. They are always the best experiences, so I never want to be left out,” admits Revolori. “Every time I receive the call, I tell myself, ‘You better bring your A-game.’ I wonder if others feel the same way.
“But I do feel like I am part of his family.”
For Anderson and Schwartzman, “Asteroid City” represents a significant milestone in their journey since their initial meeting. In the film, Schwartzman’s portrayal of a father showcases a distinct departure from his previous roles, including the iconic Max Fischer.
“When we worked on ‘Rushmore,’ he relied heavily on me,” Anderson reflects. “But now, in a way, he doesn’t rely on me at all. He would show up on set every day, whether he was filming or not, fully committed to his character’s costume—a choice I never asked him to make. He had a personal ritual for daily preparation that I wasn’t even aware of. It’s a level of dedication that didn’t exist when we first met. He has truly evolved.”
At 42 years old, Schwartzman himself was unsure if he could successfully tackle the role. He invested considerable effort, working extensively with a dialect coach and even using a moisturizing clay to mold his face into a more rigid expression.
“When you’ve known someone for such a long time, there’s no hiding,” Schwartzman remarks about Anderson. “Upon reading the script, I definitely felt a sense of uncertainty. But I interpreted Anderson’s decision to entrust me with this role as a belief that I have the capability to deliver.”
