Sunday Sitdown with Willie Geist - Benicio Del Toro on His Leading Role in Wes Anderson's New Film, "The Phoenician Scheme"

Episode Date: June 8, 2025

Willie sits down with Academy Award winner, Benicio Del Toro, to talk about his leading role in the latest Wes Anderson movie, "The Phoenician Scheme". He also reflects on his path from a childhood growing up in Puerto Rico to the heights of Hollywood. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Hey guys, Willie Geist here with another episode of the Sunday Sit Down podcast. My thanks, as always, for clicking and listening along. Got a great one for you this week with an Academy Award winner. Yes, Mr. Benicio del Toro. He's had an incredible career and an incredible life story that you probably don't know that much about. I was excited to sit down with him because he's starring. He's the lead in the new Wes Anderson movie, The Phoenician Scheme. If you love Wes Anderson, you are going to absolutely be thrilled by this movie

because it gets back to kind of the royal tenenbaum vibe of Wes Anderson. All his movies are great in some way, but the story of this one centers around a man named Zaja Corta, who has a little royal tenon bomb in him, in that he's very flawed, he's very wealthy. And in this case, there's an assassination attempt against him about every 15 minutes of the movie as he tries to figure out this scheme and reconcile with his family. It's really, really great. And a big leading role for Benicio del Toro. He absolutely nails it.

You know, he won an Oscar for his performance in traffic. He was in 21 grams, Fear and Loathing in Las Vegas, snatch. The list goes on and on and on. He's had an incredible career. He grew up in a neighborhood of San Juan, Puerto Rico. Mother died when he was very young. When he's 13 years old, he moves up to rural Pennsylvania. His family moves up that way.

He goes to a boarding school that's really. really kind of halfway between Philly and Pittsburgh. A great school, Jimmy Stewart went there, by the way, the great legend of Hollywood. Now, another legend of Hollywood, Benicio del Toro, but he talks about how difficult that was and trying to find his people as an athlete. He didn't even find the theater and the stage or acting at all until he went to college, and he was off to the races from there. I think you'll really enjoy sitting and spending some time with a guy that you probably love on the screen, but don't hear a lot from or about. behind the scenes. So sit back, relax, and enjoy it right now. My conversation with Benicio del Toro

on the Sunday Sit Down podcast. Benicio, great to see you. Thank you, Willie. Thanks for doing this. Thank you. I just finished watching the Phoenician scheme. It is vintage Wes Anderson, one of his best, I would say, as a fan of his work. How do you describe sort of the scheme and the caper that we go on here in this film? Well, I think we follow this character, Shahjah, Korda, and that's the character I play. And we follow him through this journey that is really anchor on a relationship between father and daughter.

And he's neglected that relationship. And now he's maybe subcontracted. looking for a second chance. And then there's this whole journey with all kinds of obstacles. But is that relationship, I think that's the heart of it, you know, that gets that character to go, to evolve, you know, to have a great arc.

He becomes, he's a ruthless businessman, and at the end, he's a different type of human being. He's still the same, but he's probably a better version of himself. I think Wes Anderson fans will see some royal tenon bomb in Zhajaa, which is sort of a rascal, maybe unethical, ruthless, all the things you said. But then at the end, you kind of fall in love with them. Is that fair to say? Yeah, yeah. And I think it's like, I think maybe the movie says something like, you know, people can change.

You know, not everybody changes, but I think people can change, you know. And he definitely does over the course of this. It's also just so much fun. I mean, you're surviving an assassination plot about every 15 minutes. Right. Just very casually, too. You just kind of look down and move on with your day. Survive a plane crash.

Move on with your day. Get caught in quicksand. Just keep going. Move on with your day. The amazing thing about this is that Wes Anderson wrote this part for you. And you can help me fill in the blanks on the story, but I think it started four years ago at Cannes, where you've just come back from.

You were there promoting the French dispatch. That's right. and he may have leaned over and said, I've got something for you? Well, he said, you know, I want you to be part of my next film. He never put it like that. He never said, I'm writing something for you. That would have scared the hell out of me. It's still scared the hell out of me when I read the script

because I thought it was fantastic and it was a lot of heavy lifting, you know, because I'm in it quite a bit. But, you know, when you get a Wes Anderson movie, you get Wes Anderson calling you and offering you any part, but in this case, a hell of a part, because it's full of contradictions. It has a hell of an arc. It's like getting a motivational pill. You're just motivated, you know. I mean, I was trying to think, what is it that it did to me when Wes called me and I knew I was going to do

this movie? And I was up. I was ready. I was like, I was really excited. And it's like, you're really motivated. And that's, I think that summarizes for me what it feels like to work for Wes Anderson because you know you're in the hands of a master. And the way he tells it, it was very collaborative. It wasn't, we wrote a film, go read these lines. Benicio, it was, who should this character be? What should he be like? Did it feel that way to you? Yes, yes. We talked a lot about it. We, you know, we had many, many, many, many, many, many questions. You know, you saw the film and there was a moment in which I'm meeting my daughter for the first time and I'm telling her that I want her to be the heir to my estate and I'm giving her a lot of details. And then in the background is Michael

Sarah playing Bjorn, a tutor. And I remember saying to West, West, I don't know if Zaja would be saying, all this information to his daughter in front of a stranger. And he said, well, maybe you're right. And then he goes, we'll polygraph him. And I go, okay, well, that'll work. And then he comes up with this, the live detector, which is a little pocket polygraph machine. It goes on his finger.

Yeah, it goes on his finger. And it was like, okay, that works. So that's, you collaborate like that, but everything is within that West Anderson imagination. That's a great scene, the three of you're sitting. a table having lunch. Yes, yes. The lie detector comes out and then a dropper goes in the wine.

It's poisoned. And they take it away from you. All very casually. Casually. And you're doing it fast. You can't be slow with West. Everything was done really fast, you know. And how does it change your approach, Benicia, when you are, you're the leading man.

This is, it's a great cast. And we'll talk about some of them in a minute. But it's kind of your movie. You are Zaja. you're at front and center. When you approach a film that way, it must be a totally different experience for you. It is a different experience,

but I approach it the same way. I think that I would approach any character I do. You know, you just try to be honest, try to understand where you're coming from, what you want, where you're going. You know, those are like essential things for doing, for acting in any movie. The thing is the experience is different,

because Wes has blocked it. It's an independent movie. And it doesn't look, look at, you know, it's just really like, it's layered and everything is on the screen. So by doing the, when you're like going through it, you have to like, he's blocked it, you know. So he's decided where you're,

you're going to stand many times. And so, but within that, you have to bring yourself to it, you know. So there's, there's room for wiggling. There's room for doing your thing within his, you know, patterns that he's created because he's, that camera is already set when you get to the set, kind of like you. Yeah. Yeah, that's right. You know, like the cameras here.

Walk in and go. You walk in and it's already set, yeah. Yeah, I mean, and you, there's no questioning who directed this film from the first frame of the film, right? You know immediately in that plane, this is a Wes Anderson movie. And then even the title sequence, which I thought was so cool, shot from above, you're in a bathtub, smoking a cigar, recovering from yet another assassination attempt. I'm reading. I'm drinking. I'm thinking. I'm getting medicine, I'm eating. But this is really funny about that scene

because that was one of the first scenes we shot. And I sit there and I'm in the bathtub and Wes comes up to me and he goes, we're going to shoot it in slow motion. And I go, okay, very good. And he goes, but I need you to act really fast. And I go, Wes, if you're shooting it in slow motion and we're acting fast, doesn't that cancel the slow motion?

doesn't it means like hey let's do it in real time fair question he goes no it's going to be different so and he wanted to do one take that what you see is one take and we maybe got like three but in order to get that whole choreograph yeah you know all the nurses coming in and out at the right time getting the injection eating turning the page reading smoking that all maybe we did like 30 takes you know is that right and then we managed to get a couple you know so and that's why what you see is one of the takes. It's very precise, right? It's so precise.

It's beautiful, really, and it's not exactly real time. It's different. It's not slow motion, and it's not real time. It's just something unique, you know. That's fascinating. And that's one of the things that you, you know, when you work with Wes, you trust them. Yeah.

You learn quick to trust them. I mean, I know as a fan and a viewer of a Wes Anderson film what it is and what it looks like. I'm curious as an actor how you describe to people the Wes Anderson experience, because you've worked with almost everybody. You've worked with incredible directors who all have their own style. But how do you describe being inside the world of Wes Anderson? Well, I think there's two answers to that. Acting it, it's the same for every.

I got to avoid the camera. I got to be in the moment. You know, Wes wants you to be as honest as you can be like any other director. It's the experience that it's different as when you see it. Right. Because I feel more than any other movie,

I've never done a 3D movie. And I think Wes Anderson movies, when I see them and I've been in two, they feel like they're 3D, like they're almost tactile, media. You almost can touch it, like a pop-up book in some ways. And also the humor and the heart. He has a great balance of, and there's violence in his films. There's a fight sequence that I have with Benedict Cumberbatch that is a funny, you know, fight sequence. And so I think that it's when

you, when I watch it, that I feel like, oh, that was in that world. You know, but while I'm doing it, I'm just trying to get my lines out there. Right. And make sure that they land. Well, they do land. And did you like the comedic element of this? I was, before we started reciting back to you, some of my favorite lines, just that dead pan. Well, thank you, Willie.

But I just, I just, you know, one thing we did, it was Wes never says, never said to me, I need you to be funny. I want you to be real. And if you're real, the joke will happen. And if they laugh good, if not, you know, maybe they'll laugh the second time they see the movie or the third time. But if they don't, we don't go for the laugh. You know, we weren't going for the laugh.

You know, maybe there was an element with the fight sequence. Maybe we were going a little bit bigger with it, the fight sequence. but still he wanted, you know, Benedict and myself to be really in there, feeling it like the characters would, you know. So if I'm funny, it's, I have, you know, I just, I'm trying to be telling the truth. And it's just, I'm glad that I made you, that I tickled you. Oh, yeah.

Well, there's one line I think that captures Zaja perfectly where your daughter says something to you like, I'm appealing to your conscience here and you quickly say, I don't have one. And that was it. That's who he is. Yeah, yeah. That's a ridiculous idea. They're great lines. They're great lines.

They're great lines. They're great lines. Hey, guys, thanks for listening to the Sunday Sit Down podcast. Stick around to hear more from Benicio del Toro right after the break. Welcome back now more of my conversation with Benicio del Toro. So let's talk a little bit about the cast. I have to start with Mia, who plays your daughter. I confess watching the film.

I thought, she looks familiar, but I don't quite know. Where do I know her from? And so after I watched it, I went looking at, oh, she's relatively new to the business. That's Kate Winslet's daughter. But she stands alone. I mean, obviously she's got some good genetics, but she is an amazing performer. Oh, she's great. She's great.

Strong. Yeah. She also has those big eyes, big Betty Davis eyes, you know. And she says a lot with them. And, you know, she nailed. the audition, you know, because I flew to London with West to audition her, and she was the top contender. And I do remember that, you know, we were doing a scene

and then we finished and I locked eyes with her. And she locked eyes with me and she didn't blink. And then we went on. And then I remember telling Wes, you know, I think that's exactly what Zaja needs. You know, he needs that. And I think that's what he would. recognize in his daughter that she would be strong enough to be the one that would carry the

torch of the family fortune, whatever. And that strength was extremely prepared, never complained. We had long hours, you know. Yeah, she's a talent. She's really good. Right future ahead. And the entire cast, I mean, you mentioned Benedict Cumberbatch and Michael, Sarah. Yeah.

Scarlett Johansson is in it. I don't want to give away too much because some of them are just such beautiful Easter eggs. I'm just going to say Hanks and Cranston and a basketball game. I'm just going to, I'll leave it there. People have to watch to know. But how fun to play with that group of actors.

Oh, yeah. I mean, I'm a fan. You know, I think that as I became an actor, I started, my first, I was a fan before I became an actor. So working with Tom Hanks and, And, you know, Brian Cranston right there, you know, Tom Hanks is like legend, you know. Jimmy Stewart of our generation, of our, you know, of our times, you know, it's like, yeah, legend, you know. So it was really nice to see him.

And also very nice to see how generous, you know, these actors are. Right. You know, Brian Cranston as well, you know, just generous and willing to be there and help you out to be the best you can be. says a lot about West too I guess that they're willing to actors of that caliber just drop in for a couple of days right and some of them drop in for just a cameo that doesn't even say anything

I mean if Marie Abrams is sitting right there you know Bill Murray Bill Murray I mean come on it doesn't get better than that I have a funny story about Bill Murray so he plays God in the film you've seen it and there's these dream

sequences and so he shows up, I've never, I thought I've seen it all, but I've never seen an actor walk in with his own soundtrack. Oh. He walks in with a boombox, but Bluetooth nowadays, cranking, I think it was Eric Clapton. And he walks on the set with that hairdo. And he's just saying hello to people. And I'm going, wow, I thought I saw everything, but I've never seen this. And he's cranking it.

And from the corner of the set, Wes yells, Bill! Bill! Classical music only! Classical music only! Bill goes like this, and it goes into Beethoven or Bartok or whatever. I just sat there. It was really like... That's incredible. It's one of those things that you go just go like, okay, I'll never forget that. Right, and that's Bill Murray, so he gets, he can pull that off.

Yeah. And for a visual for people watching, he's... dressed as God in a robe, the beard, the hair, the whole thing with the boombox. That's perfect, isn't it? Yes. We were just talking about how you came back from Cannes a few days ago. Great reception, huge ovation. The reviews have been great for the film and for you specifically.

Well, thank you. Is it fun? I don't read that stuff. Well, they're good. I'll just leave it there. Yeah, yeah. Let's leave it there. You've had a lot of success in your career and you won an Oscar and been nominated for awards up

and down. It's got to be a lot of fun to be in a field. film that has this kind of energy around it. The people are excited to see the next Wes Anderson movie. Oh, by the way, Benicio de Toro is the guy in the movie. Well, I don't see it like that, but

I'll take it. But, you know, yes, it is, I think I've been watching movies now for a long time, and I just don't watch my movies, I don't watch my movies, but I watch old movies and I've been watching movies, and I feel with this one, I've, when I look,

look at it and I've watched it maybe three times, that it will, it has legs. Yeah. You know, that it will travel in time. And I've been in a couple of those that I think it traveled in time that some of them didn't find an audience at the beginning, but little by little it, it did find an audience. And I think most, if not all of Wes Anderson movies, have legs. Yeah. So, you know, I think all of them do.

But this one is no different. Yeah. It definitely fits into the canon. to brush more and Royal Tannenbombs and all of the classics. Yes, yes. And it does have the dream sequences are great. And it's just original, unpredictable, you know, great cast, you know. And the music is different for this one.

He just, classical music only. Yeah, yeah, right. The message should go over. A little bit of jazz, a little bit of jazz. Yeah, that's right. That's right. Well, congratulations, man. It's really, really great.

I loved it. Thank you. The people are going to love it. Thank you. We were talking a little bit before we started about Puerto Rico growing up there. So I want to figure out how you became an actor a little bit. It wasn't there at the beginning. You're an athlete growing up, right?

A neighborhood of San Juan. What was your childhood like? What kind of kid were you? Hmm. Oh, I bet people have different opinions of how I was as a kid. I think I was distracted. And I had a lot of energy. And found basketball, probably my godmother had a lot to do with that.

I remember she took me to the YMCA, and there was a kid by himself practicing. And the old YMCA in Puerto Rico was one beautiful building. It was built in the 20s. And it was just like had one of those old basketball courts with wood, you know. Yeah, you know. Like the parquet. Yes, yes. And it's not there anymore. It's sad. But I remember seeing this kid shooting hoops by himself. He was a little bit older. And I remember going, like, I want to do that. I want to finish school and come shoot the ball. You know, I usually finish school and when I was forced to go to a tutor, you know. So, but, you know, Puerto Rico was, you know, it was great. I mean, you know, it was fun. growing up, and then I didn't, you know, I left Puerto Rico when I was 13.

I went to a prep school in Pennsylvania called the Merseburg Academy. And I, and we talked about this. The fact that I played basketball, I immediately had a group, a peers. I found friends quick. And that's one of the things that, there's a lot of things you can learn about sports, was that's one of the things, you know, you find, you're in, And so I was immediately I found friends and and and and then so I did four years there. And then as I was coming to my graduation, I just didn't know what, what I could do.

I mean, I come, my dad is a lawyer. My mom was a lawyer. My grandfather was a lawyer. My godmother was a lawyer. So they all went like, you know, you should be a lawyer or a professional, right? And then I just decided to take this acting class and I kind of said, I like this. I did it when I went to college on my freshman year at UCSD in San Diego, California. And I decided to be, to do the acting thing.

And it was like, it was like, because. there was a logic to it. I mean, I felt like you could really study it. When I saw actors when I was growing up that I liked, whether it was Tom Cruise or Richard Gear or Eddie Murphy, I just felt like they were just writing it as they went around and did it, you know? And then taking an acting class, I realized, oh, wow, you can study this.

and there's a lot of pieces to it. And so that's how I decided to become an actor, which didn't sit too well with my folks. Right, I'm sure. Your mom passed away when you were nine years old, when you were still in Puerto Rico. The impact of that on you as a child is obvious. It's devastating.

But did that contribute to your move to the United States at all? Or was that unrelated? Well, it did in a way, because she, She, that was, her father had gone to, to school in the States, a high school in the States. Yeah. So that was something she, she wished, you know, so it did happen, you know. So, you know, she's pulling the strings. She's been pulling the strings and, you know, she's still pulling the strings.

So, yeah, but, yeah, it was a, that's a hell of a bang, you know, hell of a blow. Yeah. Or any, any human being. So, yeah, so that was early on. But, you know, it did have an influence in the decision of going to school where I went to school. That's a hell of an adjustment for a 13-year-old who's still trying to figure out who he is anyway. Right. To be uprooted from Puerto Rico and move to kind of rural Pennsylvania, right?

Yeah, but you know what? When I got there, when I looked around to the other kids, everyone was like, what am I doing here? Oh, interesting. Everyone was alone. Mm-hmm. You know, it's so it, you didn't feel you were the only one alone, you know? United in your loneliness. You're united in your loneliness.

Yeah. So we were, I think every, every kid that was there for the first time was like, there were no cliques. Except you've, you had to find it there, whether it was, you know, some kids went into, you know, the theater club or, or other kind of club, the clubs or other sports. And, you know, I had the basketball click. You mentioned Jimmy Stewart a minute ago. I was doing a little homework about Mercer'sburg. He went to Mercer'sburg. That's so crazy.

Is that unbelievable? Unbelievable. Jimmy Stewart and Benicio del Toro went to the same high school. Yes. I mean, it's crazy. It's crazy. You know, and just... But Jimmy Stewart is Jimmy Stewart.

He is. Just so you know, on the Wikipedia page, you're listed above him. Just... Yeah, I just... Yeah. You should know that. Okay. Well, it might be...

Yeah. It might be alpha. It is. It is. It is. It is. It is. The D comes before. Yeah. Stick around for more of my conversation with Benicio del Toro right after a quick break. Welcome back now to the rest of my conversation with Benicio del Toro. So UCSD is where you catch the bug.

That's great. You go, okay, this is something I can do. And then the connection to get to New York and Stella Adler, that's a big leap too. Is it not to commit to that? Well, yeah, I come to New York. I lived here for a little bit and I said, my folks say, you want to be an actor? You're on your own, baby. And I said, okay.

but I started to have my doubts, and I waved the flag. I surrender. I will go back to college, because they were saying, if you don't finish school, we're not going to... You're on your own. You're on your own. So I waved the flag, and I went to California, and my brother was going to UCLA,

and I stopped in L.A., and I went to see an agent. And she said, you know, you should go back to college, When you finish college, come and see me. And then she said, by the way, they're giving a scholarship, but the Stella Adler Conservatory, I didn't know who Stella Adler was. And if you want, I can call and I can get you an audition. And I said, okay, what do I have to lose? And I did the audition, and I got the scholarship for two years.

And that really kind of like, that suddenly was like, wait, I'm not the one who's saying, I can do this. Someone else is saying, you should do this. And, you know, now I work, you know, I get movies,

and I work with incredible actors and incredible directors, but there was a period there where I was being rejected every day. But when I look back and I look at that, the fact that I was going

to Stella Adler, it gave me some kind of cushion in a way that, you know, at least I got this place where I can really, explore and learn. And, you know, it's one hell of a technique and it's one hell of a school, really. I'm still, as I progress as an actor, as a human being, I still keep learning or understanding

things she said, you know, it's pretty amazing. I guess that's, I'm always a student. I think that this, you know, I think that's, that's part of, of, uh, of, uh, of, uh, of, uh, of, uh, of being taught by a great teacher, is that you keep learning as you get older and you're ready now to understand things that she probably talked about. She planted a seed and grew years later.

That's what that meant. It's interesting. Almost every successful actor I talk to, like yourself, has that story of they started out rejection, rejection, rejection. and for some reason they just kept at it. And I don't know if you feel like you had a plan B or you ever had a moment where you said,

I don't know if I can do this. Maybe I should go to law school and listen to my dad. I just couldn't go to law school. I wasn't a reader. I mean, you have to read. I became a reader later. But, you know, yeah, I think that, for me, I was, I liked the process.

you know, I'm kind of like I like the process. I don't, I don't, I'm not looking at the result as much. Yeah. And I think those rejections, you know, trust me, I thought I'd nail some auditions there and they were going, ah, no. And I could have sworn I nailed it and I was going to get the part, you know. But there were a couple casting directors

that were, that also embraced me and kind of like push me for parts, you know. What felt like the big break to you? A lot of people point to the usual suspects in 95 as the time bigger audience said, who's that guy? He's good. I think the industry more so with that film. But before that, I got a James Bond movie early on.

Yeah. And that was... Huge. Yeah. I mean, like, I want to be in a James Bond movie. I was like, you know, I call my dad. I called everybody. But what happened is I did that movie and then I didn't work again for a year and a half.

You know, the movie came out. You know, everybody thought, oh, then now you're... You're going to be, you think, as an actor, you think, like, you get a job and that you're going to work again. Well, no, not really. That's interesting. You can get a job and then sit for a while, and that's when you can get really cold feet and start second-guessing yourself. And so I think that that was a big moment. And I remember, I don't know, I bought a suitcase.

I remember that. But, you know, just that movie was also because I'd grown up watching James Bond movies. And, you know, I knew there were friends of mine from high school or in Puerto Rico. They went to the movie theaters and they couldn't believe it. They were, how did that happen? It's like really weird. You know, like, I didn't know you were out there. I didn't know you'd be in the movie.

Yeah. So, but that was, that was a moment there. That's huge. There were a couple, but there wasn't, it wasn't up and down for a while, you know, until the usual suspects was kind of like, also the usual suspects was a hell of a script by Chris McCory, a hell of a director, Brian Singer, hell of a cast, and the movie was a success. Yeah. And I learned there that you're only as good as your movie, too, you know. So, you know, it does help to be in a film that is good. Yeah. And then comes the fan. Now you're in a movie with De Niro, then Fear and Loathing, where you were incredible in that movie.

When I look back on that, my gosh, that performance was... Yeah, well, also great material, Monter S. Thompson's book, and it was really, we follow the book pretty good on the script. Johnny Depp, Terry Gilliam. What a ride. But that's one of those movies that when he came up. out, it just, it found an audience later. Yeah. Right.

Yeah. It felt like a cult thing for a while. Yeah. Yeah. Yeah. And then, of course, I have to imagine a lot changes for you with traffic. When you win an Academy Award, is it true that that changes things for you? Do you feel that?

Business, business wise. Yeah. It does. Yeah. Now you can, you know, I'm going to fly first class. Yeah. There's a little bit of that. But, yeah, it does change a little bit, but I think more on the business side, you know, my manager, my agent, you know, have maybe leverage now.

And it also changed at home a little bit, you know, and suddenly it's like, oh, I always knew it was going to be an actor. Of course, I saw it since he was six. So, yeah, you've seen him when he played Cowboys and Indians. Right, right. So there's a. So there's a, there's that, but, but in the end it's, it, uh, you also have to like be, you know, take your time with it because you can really get sucked into all that hoopla being and it's, it's really, it's, it's an honor to be in that list.

Um, but, you know, you also like, don't believe it 100%, you know, you just, you just look forward. You know. Did you feel like more scripts were coming into you after that? And therefore you had to be even a little more selective because people wanted to do all kinds of crazy things. Yes. Yeah. So you turned down a few things.

Yes. Turned out a few things. And then also it gives you leverage to instigate stories that you might want to be a part of or you want to, you know, be involved from the beginning, you know. Filmmakers might reach out to you. because your value goes up. So you might be able to...

Your participation in a movie might give that movie that green light. So people invest in it, you know. Right, right. Yeah, you get another Academy Award nomination, and then, I don't know, I'm just fascinated by all the choices you made. Like, you don't have very many misses.

They're all good movies, even if you're not the lead in them. They're all just considered really strong. strong movies. So when a script comes across your desk, what is your process like, especially at this point in your career when you can kind of do anything, you've done Marvel, you've done Star Wars, you've done it all. What is your sort of editing process to say, yeah, I'll do that? Well, the first thing is who's directing it? Yeah. You know, that's, and then let's say it's someone that you haven't seen or someone new that is like, what's the, you know? What's the

story. And then you can tell from the script, you know, of his original and predictable, you know, who is in the cast if there's anyone attached to it. That also has an influence. And then, you know, I got I got really good people that I pay them a percentage to also bounce stuff off, you know, like, you know, hey, what do you think about this? Is this a good thing? Should we do this now? So, you know, I got a manager that I've been with since the beginning of time and, you know, I trust as an opinion. So all these things come, there's a combination of all these things.

But I think the first thing is who's making the film? Yeah. That's going to be like, that's going to be the key to open, perhaps exploring. the character. Yeah. And you've worked with so many of the great directors.

Yeah. I have to imagine as a guy who struggled in those early days of his career that you were just describing trying to figure out how you get through these auditions and you get little parts here and there. Do you ever stop at this point in your career and your life and go, wow, I can't believe

how far I've come from those days to get to work with Wes Anderson and he effectively wrote a part for me in his movie. Do you reflect? You've forced me. I got to take another trick of this vodka It is. People should know. That's 100% vodka. Yeah, I guess you do. It's kind of scary. You get vertigo. I can get vertigo looking back. I've been really lucky. I've worked with the best, some of the best. And I've even worked with directors that I didn't do a film that we got involved in things. So, yeah, I've learned a lot.

You know, well, maybe the thing that happens inevitably is that you start learning. One thing I like to do is give young filmmakers a chance. So now I'm in a position where I can try a filmmaker that maybe has not done something, but you can see there's something in their story or the way they pitch a movie to you. There's a passion, something like that.

So I like to be able, there's many actors that I admire that have done that. You know, like Jack Nicholson. You know, they just went in and did, they helped young filmmakers. So I like to do that. And then the other thing that happens is that I've gone to an incredible school. I'm also kind of like maybe thinking maybe I should get behind the camera at some point and try that, you know. So that's inevitable, you know. I mean, you know, because I've been around, you know, like you said, you know, an incredible,

I've been to an incredible university of filmmakers. Yeah. And actors and all kinds of departments, really, that I like, that I've learned a lot from, you know. I mean, in Wes's movie, there is like the wardrobe, which also helps the story immensely. is Melina Kenanero, who she's won four Oscars. She worked with Stanley Kubrick. So, you know, I've been, you know,

you're forcing me to look back now. I might not be able to get, to shut my mouth. Well, you turned it to looking forward and you suggest you might do some directing. Is that something imminent, you think, or is that down the road? It's down the road.

But, you know, I think about it. I think about it. Maybe, you know, tell a story, you know, the way I kind of look at things, you know. Maybe do something in Puerto Rico. Absolutely. Maybe you can come in and it was a hand, yeah. You were thinking about the craft services. I think it with my cow.

I just cast myself in. You're like, no, you can do craft services. That's fine. Let's end. That's a great place to end on Puerto Rico, a place I love that you're from. I've been going for 35 years, got married there. That's great. And you've done so much good work there, not just after hurricanes, but always.

What a cool position to be in that you have a platform to do those things and to give back to the place that made you effective. It's got to feel good. Yes, yes. I mean, you always want to do more, you know, but yes. And, you know, yeah, it's an honor. It's who I am, you know. It's just, it's my blood, deep. DNA, everything.

Yeah. Well, I look forward to our shoot. Yeah, thank you. I'll give you some dates. Yeah, okay. Okay. Okay. Thanks, Benicio.

You got it. He said it. My big thanks to Benicio for a great conversation. You can see Wes Anderson's new film, The Phoenician Scheme, starring Benicio in theaters now. And my thanks, as always, to all of you for listening again this week. If you want to hear more of my conversations with our guests every week, be sure to click follow so you never miss an episode.

And don't forget to tune in to tune in to Sunday, today every weekend on NBC to see these interviews with your own two eyes. I'm Willie Geist. We'll see you right back here next week on the Sunday Sit Down podcast.