Benicio Del Toro Leads By Example
In One Battle After Another, the Oscar winner shows why he remains one of Hollywood’s most formidable senseis.
For almost four decades, Benicio Del Toro has been one of Hollywood’s most distinctive presences, commanding the screen with his gravelly voice, cool physicality, and deadpan gaze. Twenty-five years ago, he won an Academy Award for Steven Soderbergh’s Traffic, and has since taken on everything from blockbusters (Avengers: Infinity War, Guardians of the Galaxy) to prestige television (Escape at Dannemora). He’s also become one of Wes Anderson’s recurring madcap stars. In Anderson’s latest, The Phoenician Scheme, Del Toro plays Zsa-zsa Korda, a flamboyant industrialist who survives a string of assassination attempts and names his nun daughter as his heir, triggering a surreal international pursuit. Meanwhile, as the wise Sensei in Paul Thomas Anderson’s One Battle After Another, he once again found himself fending off bad guys during wild chases—a performance that earned him his second Golden Globe nomination. Though the two films are quite different, together they showcase the now 58-year-old Puerto Rican star’s range and ability to move effortlessly between auteurs.
Del Toro wears a Giorgio Armani jacket and shirt.
How did One Battle After Another come into your life?
A phone call. Paul Thomas Anderson called me and asked if I wanted to be in his film. I said, “Absolutely,” because he’s one of those directors that you yearn to work for. And then he sent me a photograph of a poster with a tiger dressed in a judo kimono. The name of my character is Sergio St. Carlos, aka Sensei. I said, “Okay, let’s go.”
Paul’s camera follows the actor. He expects you to bring your own experience and interpretation to your character. Leo [DiCaprio] and I were also working with a lot of nonactors; that really bonded Leo and myself, because we had to lead by example. And these nonactors, once they get into it, they don’t lie. I had to be on my toes. The other film I made this year was The Phoenician Scheme, directed by Wes Anderson. With Wes, the actor follows his camera. It’s a bit more like doing theater. If I was a musician, playing for Wes is more like jazz. Different styles, but both want the truth, as cliché as that sounds.
Your costumes in The Phoenician Scheme are elaborate and fantastic.
Yes, Milena Canonero, the costume designer, is a master. The minute I put on the smoking jacket and the slippers, it was like I was in a pop-up book.
Del Toro wears a Prada trenchcoat and shirt.
Did you always want to be an actor?
No, I wanted to play basketball. That was the thing that kept me out of trouble. When I was in college, I wanted to make my studies really easy, so I took an acting class. How could I mess that up? Turns out you can mess it up.
As an actor, my first compliment was for playing dead. The teacher came up to me and said I was very good when I was on the floor with my eyes closed. My first film was Big Top Pee-wee. I played Duke, the Dog-Faced Boy.
Who was your cinematic crush growing up?
Lynda Carter, playing Wonder Woman. She was probably my first crush.
What have you lied about to get a part in a film?
I’ve lied that I’m from another country. But that’s for me to know and you to find out.
Style Director: Allia Alliata di Montereale. Codirector: Frank Lebon. Director of photography: André Chemetoff. Hair by Jawara for L’Oréal Professional at Art Partner; makeup by Lauren Parsons for Sisley Paris at Art Partner; manicure by Jolene Brodeur for Dazzle Dry at the Wall Group. Set design by David White at Streeters.
