Martin Scorsese has a lot of projects in the works with no release dates in sight. With the director in his ’80s, fans are left wondering how many more films he has left, and who will carry on his tradition of making great films. Well, at the turn of the millennium, the director himself answered the question of who he thought would become the next Scorsese. He didn’t pick an option like Quentin Tarantino or one of the Coen brothers, and instead chose a bit of a wild card.
In the March 2000 edition of Esquire, Martin Scorsese wrote a column saying that Wes Anderson was the next Scorsese. It was a big claim, as Anderson had only made two films by that time. Although the pick felt strange at first, Scorsese elaborated on his answer, which revealed quite a few similarities between the filmmakers at the time. With Wes Anderson’s latest film, The Phoenician Scheme, having just been released in theaters, now’s the perfect time to reflect on whether Scorsese’s pick held up.
Why Martin Scorsese Chose Wes Anderson
Even though Wes Anderson had only directed two films, Martin Scorsese had lots to say about the quickly rising filmmaker. Although Scorsese said he enjoyed both films, he spent most of the column praising Wes Anderson’s first feature film, Bottle Rocket. Scorsese writes, “Here was a picture without a trace of cynicism, that obviously grew out of its director’s affection for his characters in particular and for people in general. A rarity.”
Scorsese continued to compliment Wes Anderson’s talent for creating characters, writing, “He knows how to convey the simple joys and interactions between people so well and with such richness.” It’s certainly an important talent, as well-developed characters help an audience connect with a film. Scorsese says it’s also a rare talent, which he first noticed in the films of directors who inspired him, such as Jean Renoir. “I remember seeing Renoir’s films as a child and immediately feeling connected to the characters through his love for them,” Scorsese writes. “It’s the same with Anderson.” Comparing Wes Anderson to the directors that inspired Scorsese might be the director’s biggest compliment of all.
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Scorsese doesn’t end there, despite the column only being three paragraphs. The director spends the last paragraph praising Wes Anderson’s choices for music in his films. He mentions the iconic scene of Max Fischer dancing with his teacher to “Ooh La La” at the end of Rushmore, but he’s more interested in a particular song choice in Bottle Rocket. Scorsese writes that he loves the Rolling Stones’ “2000 Man” needle drop in the film, as it helps portray a character’s innocent nature. He gives it the highest praise he can, writing, “For me, it’s a transcendent moment. And transcendent moments are in short supply these days.”
Martin Scorsese and Wes Anderson Have Surprising Similarities
Initially, Martin Scorsese choosing Wes Anderson as his successor seems a little strange. Martin Scorsese is known for some of his dark, gritty movies, like Taxi Driver and The Departed, whereas Wes Anderson is known for more whismical movies like Fantastic Mr. Fox. Granted, Fantastic Mr. Fox wasn’t out when Scorsese wrote the column, but that probably wouldn’t have changed Scorsese’s answer, considering he’s directed films like Hugo.
The fact that general audiences even have generalizations for what a Wes Anderson or Martin Scorsese film is proves they’re at least similar in the public eye. They’re both successful directors who have maintained unique thematic and visual styles throughout their careers. The two directors have gained many frequent collaborators with each new movie and have had similar progressions with their filmographies that have yielded them one Oscar each.
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Some of the earliest films in the directors’ catalogs show how well the two might be connected. Wes Anderson’s Bottle Rocket, the film which Scorsese said he loved, is similar to Scorsese’s third feature, Mean Streets. Both films are focused on a well-meaning character who gets caught up in crime through a friend. In his Esquire column, Scorsese writes that the film portrays “[a] group of young guys think that their lives have to be filled with risk and danger in order to be real. They don’t know that it’s okay simply to be who they are.” Harvey Keitel’s character, Charlie Cappa, has a similar problem in Mean Streets as he continues to work with the Mafia despite knowing it goes against his Catholic faith.
The two are also deeply connected through their love of music, so it makes sense that Scorsese devoted a whole paragraph to the topic in his Esquire column. Both directors often fill their soundtracks with music from the ’60s and ’70s. They share a special love for The Rolling Stones and have used the band’s songs on more than one occasion. Wes Anderson and Martin Scorsese have met a few times, and there’s a high chance their shared music taste came up in conversation at least once.
‘The Phoenician Scheme’ Proves Anderson Is ‘The Next Scorsese’
Wes Anderson’s latest film might be his most similar to Martin Scorsese’s style. The Phoenician Scheme is one of Wes Anderson’s grittier films, incorporating espionage, conspiracies, and more. Although the film’s visuals still scream “Wes Anderson,” the plot could easily have made for a great Scorsese movie, with a wealthy businessman trying to fund one last project while reconnecting with his daughter. The film is also scattered with religious themes, a topic Scorsese has covered in multiple films, including Silence and Mean Streets.
The Phoenician Scheme is currently showing in theaters across the world. The film is expected to remain in theaters for at least a month before it hits digital platforms. The Phoenician Scheme will likely be streaming on Peacock in the fall.
This story originally appeared on Movieweb
