When I ask Seydoux if she recognises herself in Simone, she answers in a jokey tough-guy voice: "Oh, I'm as tough as Simone, yes, I'm really like that," and then bursts out laughing, flashing a radiant gap-toothed smile. "It's funny, and at the same time it's deep, it's moving there are many contrasts. But amongst the Hollywood-heavy ensemble, her presence is arguably the most memorable her glacial stares and borderline mechanical movements are infused with unexpected humour and pathos. Seydoux appears in the first of the film's three extended chapters and has only a handful of lines.
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In this cinematic wunderkammer, even the smallest detail is crafted with care, from the dandy-fine stitching of Simone's fitted uniform, to the artful poses she strikes (composed with veteran choreographer Philippe Decoufflé) in a series of tableaux: hanging from the ceiling like an acrobat perched on one leg on a stool or bending, in profile, arched like a cat. "But I think that works… I mean, it's part of Wes," she says. Seydoux describes Anderson's new film as "like a comic book", and its vision of her home country as "idealised". "He does all the voices, he plays all the characters. It's like a beautiful piece of art," she explains. When you arrive on set, it's on an iPad, so you can watch the film before it's even. "He's funny, Wes – not many people know, but he makes a little animated film of the script. So I will send you just the parts that you need to read,” Anderson texted Seydoux when he offered her the part.
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“The movie is sort of a collection of short stories. (Supplied: Disney)īack in uniform, she snaps her fingers and sharply orders him about.Īnderson wrote the part for Seydoux, who is now a regular amongst his ensemble, having most recently voiced the glamorous poodle-King Charles cross Nutmeg in the French version of Isle of Dogs.įor their latest collaboration, Seydoux says the few lines that Anderson sent her initially were "rather abstract" – but he goes above and beyond in bringing them to life for his actors. Seydoux and Anderson share an interest in French cinema, particularly the French New Wave, including the films of Godard and François Truffaut.
"Simone is Benicio's inspiration she is the object of creation," Seydoux explains. A guard at the Ennui prison, she poses nude for Moses Rosenthaler (Benicio Del Toro), an artist serving a life sentence for murder, providing the inspiration for the radically abstract paintings that bring him world renown. In The French Dispatch, Simone is a mixture of fire and ice. "I don't know… I think it's because I am melancholic," she says, quietening. Which I am not, at all!" the actor laughs, speaking from Paris via Zoom. "For some reason people think that I am mysterious. Her recent turn as Daniel Craig's secretive lover Madeleine Swann – whom critics have dubbed "the antithesis of the Bond girl" – is perhaps the epitome of her mercurial on-screen persona. In 2013, Seydoux won the Palme d'Or at Cannes with co-star Adèle Exarchopoulos and director Abdellatif Kechiche for Blue Is the Warmest Colour. It's the latest in a long line of sultry, enigmatic heartbreakers the in-demand actor has embodied since her breakthrough role in 2008 French arthouse film La Belle Personne, and honed in subsequent films as varied as Woody Allen's Midnight in Paris, Cannes-acclaimed lesbian romance Blue Is the Warmest Colour, and Mission: Impossible - Ghost Protocol.
In Wes Anderson's new star-studded film The French Dispatch, Léa Seydoux ( No Time to Die) plays a prison guard who becomes a muse for an inmate.
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