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In “The Phoenician Scheme,” Michael Cera finally got to realize a long-held dream: working with director Wes Anderson.
With his offbeat humor and awkward charm, it’s shocking that this is the first time the “Scott Pilgrim” and “Barbie” actor is stepping into Anderson’s whimsical, colorful world. But it wasn’t supposed to be — Cera was lined up for a role in 2023’s “Asteroid City” that ultimately didn’t work out, albeit for a happy reason (the birth of Cera’s first son).
However, Cera’s patience was more than redeemed with his scene-stealing role in “The Phoenician Scheme” as Bjorn, the quirky tutor of Benicio del Toro’s wealthy businessman who gets roped into a globe-trotting adventure alongside his estranged daughter Liesl (Mia Threapleton). With a ridiculous Norwegian accent and affinity for insects, Bjorn accounts for many of the film’s laughs — and later on, becomes essential to the titular scheme.
Ahead of the film’s Cannes Film Festival premiere on Sunday night, Cera tells Variety about working with Anderson, developing the character of Bjorn and his upcoming directorial debut.
How did you first get involved in “The Phoenician Scheme”?
Just by Wes asking! I mean, it was such a no-brainer and always would be for me, having an invitation from him. I’ve been dying to work with him since I saw “The Royal Tenenbaums” in theaters, so I was just so excited to have the opportunity.
It’s surprising that this is your first collaboration with Anderson. How long have you known each other?
I’ve known Wes over the years socially. We met a long time ago, it’s going on 20 years or something. We just met at a meeting, but have been in contact over the years. Wes has actually been very encouraging with me with some of the projects I’ve been trying to set up. He’s read things and he’s just been helpful and supportive. And then, of course I was always hoping to have the chance to be on one of his sets.
What was your reaction when you first read the script?
I’m just going, “Oh my God, I can’t wait to see how he does this.” I really had no idea how he was going to build this world. And the character [of Bjorn] was so complete — all of the characters were. I loved it, this kind of opulent romp of a movie through this sphere of wealth.
How did you form the character of Bjorn?
He’s definitely Norwegian in the script, but that’s kind of it. It was to me very clear because of Wes’ dialogue and I at least knew a general target of what it was going to feel like as far as what flavor it adds in the whole scheme of things. It did take a bit of honing with Wes and reading with Mia and Benicio and Wes, especially the accent.
I think Wes was a bit nervous that it would dip into it being a little too much, or the character just asking too much of the audience — taking up too much space with his accent and look. So we kind of had to just make sure we tuned it to where it was in harmony with the whole thing. But once we started doing the scenes, it just felt right. I’m wondering what the Norwegians are going to make of it.
How did you keep from breaking on set due to the accent?
It is very silly. It took all of us a minute to feel normal about it, but then it started to be normal actually very quickly. The harder thing for me to adjust to, to be honest, was the glasses I was wearing because they had this crazy prescription in them and it made everything insane. It was like a big fish bowl effect and it gave you no sense of depth or anything. But then eventually, I kind of learned how to deal with it.
Bjorn has a love for insects and always seems to be carrying a new bug around. Did you learn a lot about them through the character?
Wes turned me on to this amazing French entomologist named [Jean-Henri] Fabre, who was kind of a controversial figure in the field when he was publishing his materials just because he was very strange and he conducted all his own experiments. But it’s so charming to read because he’s a very charming writer. So he was a bit of a touchstone for at least the entomology side of Bjorn. And I got so into reading this guy’s book every morning. So I learned a lot reading that, and even my sons started getting into scarab beetles and things for a little while. It’s a fascinating world. And then obviously handling the real creatures was fun.
Tell me about working with Mia Threapleton and Benicio del Toro. What was it like to play opposite them?
It was a great little unit. The three of us, along with Wes, had some rehearsal time before we started shooting — maybe two weeks where we were having lunch together every day and just going over scenes. We built a really good dynamic and a team feeling among all of us, and that carried through the whole movie. And then we had this rotating cast of people who would come in and hang out and be part of the movie and then leave. I was so honored to be able to have such an important role my first time getting to work with Wes. I couldn’t have asked for more.
What was he like on set?
As an actor, it’s so much fun to work with Wes. It’s so specific and very exacting, but so much fun. Such a spirit of fun, all the time. Never feels negatively charged or pressurized, it always felt like we’re just having a great time, even though we’re working hard at it. It always felt very optimistic and I was totally in love with the movie as we were making it. Wes has sort of the luxury of doing as many takes as he needs to, so around 20 takes in you go, “OK, we kind of have it, so now let’s try something else and keep experimenting just for the sake of it.” It’s just a nice way to work, where you feel like, “OK, now we’ve got it. Everything else from here is gravy.” There are little happy accidents in the movie, for sure. Obviously, I just hope to continue working with him any chance there is.
You’ll be making your directorial debut with the comedy “Love Is Not the Answer” starring Pamela Anderson. What can you tell me about that?
You know, I’ve been heartbroken so many times that I’m the kind of person who only really believes something is fully real when it’s all done. With “Asteroid City” falling apart for me, I was kind of like, “Please let [‘The Phoenician Scheme’] happen.” And it really wasn’t until we were finally on set shooting that I was like, “OK, this seems to be really happening.”
I’m very hopeful to make it this fall. I’m very excited about it, it’s something I wrote and I really love. I feel like if we do get to make it, it’ll be a total privilege to get to make something that I’ve written and that is very specific and idiosyncratic and unusual. I’m trying my damnedest and I hope it all falls into the place the way it should. But you know, you just gotta keep trying. Like playing — what’s that game — corn hole? You just gotta keep throwing it. It’s kind of up to nature whether it goes in or not.
This interview has been edited and condensed for clarity and length.
English (US) ·