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JEFFREY WRIGHT: Well, its more Wes Anderson [laughs].
The story flows from that until it doesnt, and its disrupted by an event that affects everyone.
When I read the scripts, I asked Wes if he had written it during lockdown.
(L-R) Fisher Stevens, Jeffrey Wright, Tony Revolori and Bob Balaban in Wes Anderson’s ‘Asteroid City’Pop. 87 Productions/Focus Features
He said he had.
It made a poetical sense to me that that was the case.
But its a wonderful, ironic, and quirky, but alsofantasticalfilm.
Perhaps in a way that many of Wes films are fantastical, but I found this one particularly so.
And its a story that, for me, became even richer and more interesting on performing it.
It really unfolded with increasing detail and wonder as we got together to put it on its feet.
DEADLINE: What can you reveal about the character you play?
WRIGHT: I play General Grif Gibson, whos a five-star general.
Hes the host for this event, a gathering of young, brilliant scientists and inventors.
And hes there because the United States military has an interest in these young minds and their various experiments.
And so, he oversees the days spent there and the itinerary.
DEADLINE: How did you first get involved with Wes Anderson?
We met at a cafe in Saint-Germain and talked aboutThe French Dispatchand the character of Roebuck Wright.
And so,The French Dispatchwas the beginning of our working relationship.
DEADLINE: Roebuck Wright would be a fantastic part for any actor.
Its probably one of the best parts in any of Wes Andersons films, to be quite honest.
WRIGHT: I couldnt say [laughs].
There are so many wonderful characters and performances in Wes films.
It was one of the most carefully, wonderfully written pieces that I had read.
And by the time we got to set, I knew every comma and dash in the thing.
It just spoke to me.
All the characters inThe French Dispatchwere autobiographical for him in their own ways.
I think it was a very personal film for him.
But youre a writer, so youre biased.
DEADLINE: Whats Wes like to work with?
We hear that hes a perfectionist and obviously a stylist.
WRIGHT: Im probably less stylistic in my life than Wes, but Im equally a perfectionist.
So, I understand him, and I know what he wants.
Hes all of that and a real taskmaster but in the best way.
We understand that we are there to be in service to him and to his ideas and his framework.
I find that to be gratifying.
Hes not putting on an affectation.
He genuinely desires to tell a story in this way on film.
I just dig him.
I think we all do.
What is it about theater that attracted you in the first place?
Folks like Dustin Hoffman, Sidney Poitier, [Marlon] Brando, these are theater actors.
[Al] Pacino is a theater actor.
And what first drew me to acting wasnt film; it was theater.
I just saw a whole range of stuff on stage, and I was just enthralled by it.
And then, I got out of college and started doing theater.
I didnt do any plays in high school.
I didnt do much in college until very late.
He also appreciates the written word in a way thats rare for the cinema.
DEADLINE: Is it the spontaneity of theater that appeals to you?
WRIGHT: Theres a freedom and an unexpected aspect to it that lends itself to spontaneity.
And theres also greater immediacy in the relationship between the performance and the audience.
The actor has greater control over that relationship, and thats gratifying.
Even if there are quiet moments.
Theres a physicality to it that I appreciate.
DEADLINE: Whats been your favorite role youve played in theater?
WRIGHT: I dont know.
And it was also happening at a time that really needed it.
I mean, I dont say that lightly: it had a profound relevance.
So thats a big one for me.
But I also deeply enjoyed playing in Suzan-Lori ParksTopdog/Underdog, which recently had a revival.
DEADLINE: Are you still keeping an eye on the theater?
WRIGHT: Ill get back on the stage at some point, I think.
In fact, I was doingWestworldwhen we filmedAsteroid City.
I have a project coming out this year, as well as two others.
And so, I would like to get back on the stage at some point.
DEADLINE: This interview is going in Deadlines Cannes magazine.
Whats your experience with Cannes?
WRIGHT: Ive never been!
This will be my first trip.
Ive had several films there, and, for one reason or another, I didnt make it.
Mostly because I was working, and they wouldnt let me.
DEADLINE: Whats the common denominator in these kinds of films?
And over time, Ive gotten better and smarter and wiser in my choices.
And thats, lately, what I think is most central.
DEADLINE:Basquiatput you on the map.
How do you feel about it now?
Treat it gentle, as Sidney Bechet wrote.
I felt that I was being asked to be a caretaker for the telling of this seriously delicate story.
His work, his language, just speaks to me really deeply.
I get him, and Im pleased to see that others are beginning to get him too.
Im proud that I might have played a little part in that.
DEADLINE: What was it like working on theBondmovies?
Would you go back if they reboot it?
Or if theres a ghost of Felix Leiter moment, then Ill certainly consider doing that [laughs].
Id never expected to be a part of that franchise.
I was an enormous geeky fan of the Bond films as a kid, as many of us were.
Im completely satisfied with what we did there.
Im happy to move on and let someone else be part of it.
DEADLINE: What are you up to now?
Its a film based on the Percival Everett novel,Erasure.
I think we did something interesting there.
I just decided to chill for a while.
And so, Im taking a break.
