Sept. 29, 2006 forever changed Dito Montiel and Robert Downey Jr.’s lives.
That day held significant importance for both Downey and Montiel: not only was it when Downey was announced as Tony Stark in Jon Favreau’s Iron Man, but it also marked the theatrical release of Montiel’s independent drama debut, A Guide to Recognizing Your Saints. In this film, Downey portrayed a semi-autobiographical character based on Montiel. This day served as a turning point for Downey, marking his resurgence in the industry following a string of high-profile personal struggles. Similarly, it held just as much significance for Montiel, who had experienced his own fairytale highs and heartbreaking lows.
Born in Queens, New York City, Montiel had already dabbled in various arts before embarking on his filmmaking journey. In the 80s, he was an active participant in New York City’s hardcore punk scene, leading the band Major Conflict as a teenager. His new group, Gutterboy, secured a remarkable $1 million record deal with Geffen Records in 1989. To add to his impressive resume, Montiel also had a brief stint as a boxer in the Golden Gloves competition and modeled for fashion giants like Versace and Calvin Klein.
In 1992, Montiel found himself unemployed and homeless. Luckily, Jonathan Elias, who had produced Gutterboy’s debut LP for Geffen a couple of years prior, offered him a place to stay on his couch and a job in the dubbing room at his Santa Monica recording studio. Since Montiel had always been good with words, he also chose to chronicle his turbulent and eventful childhood in a memoir titled “A Guide to Recognizing Your Saints“. Eventually, a friend from their shared days working at a Tower Records in New York City decided to publish the book in 2003.
At approximately the same period, Elias was working together with Downey on his solo album titled “The Futurist“. It was during this collaboration that he provided Downey with a copy of Montiel’s memoir. Previously, Downey and Montiel had encountered each other in their separate adventures within New York City. Impressed by Montiel’s artistic expression at Elias’ studio and through his book, Downey suggested that Montiel should transform “Saints” into a complete feature film.
Following this, Downey arranged a lunch with producer Trudie Styler, who’s married to musician Sting, to discuss the adaptation of Montiel’s book. Essentially, Downey and Styler gave Montiel an opportunity, which he had to work hard for by drafting, revising, and refining a script, as well as producing a short film as a demonstration of concept with Downey playing the fictional Montiel. The process wasn’t straightforward, but eventually, the low-budget movie was produced. Eventually, the film titled “Saints” made its debut at Sundance in January 2006, earning Montiel a directing award and a special jury prize for the exceptional ensemble cast that included Downey, Shia LaBeouf, Channing Tatum, Rosario Dawson, Chazz Palminteri, and Dianne Wiest.
At that moment, there was no greater risk on earth than myself. Downey had the audacity – or perhaps the insanity – to take a chance on me, and such alignments are rare, if they ever occur,” Montiel shared with The Hollywood Reporter. “Trudie also took some daring risks because she could, and I was one of those risky ventures through Robert. Such an event wouldn’t happen again.
Over the past 19 years, Montiel has produced nine films, with “Boulevard” (2014) being one of them – this was Robin Williams’ final live-action film before his passing. His latest production, currently showing in theaters, is a crime comedy called “Riff Raff“. This film shares similarities with Edward Albee’s play “Who’s Afraid of Virginia Woolf? “, as it revolves around a complex web of relationships. In this story, Ed Harris portrays Vincent who is trying to maintain a peaceful life on the East Coast with his wife (Gabrielle Union) and stepson (Miles J. Harvey). However, chaos ensues when Vincent’s ex-wife (Jennifer Coolidge) and son (Lewis Pullman) arrive unexpectedly in the dead of night, having allegedly committed a murder. Similar to his previous work “Saints“, Montiel has once again gathered an impressive cast that includes Bill Murray and Pete Davidson.
Coolidge’s casting in ‘Riff Raff’ was inspired by Montiel’s admiration for her work in HBO’s ‘The White Lotus’. This led to Coolidge being involved in the project, setting off a chain of events. Interestingly, Montiel had Harris’ email address for more than two decades, but he only utilized it when he chose to take a chance and pitch him ‘Riff Raff’. He obtained Harris’ contact details during the mid-2000s, while working on his ‘Saints’ script at Sundance Institute’s Labs program.
During the wee hours of the night, I penned an email to [Harris], ‘Hey there, it’s me from before, I have a script now.’ To my surprise, he responded the next day saying, ‘I enjoy Jennifer Coolidge and I recall you. I’ll take a look,'” Montiel reminisces. “The following day, he replied again, expressing, ‘This is decent, let’s discuss it.’
Just as it was back then with the cast of Saints, Montiel is still astounded by the dedication these well-known actors display towards smaller projects such as Riff Raff. “The level of devotion that Bill [Murray] and all these actors showed to this small film was remarkable,” Montiel states. “They don’t owe me or this movie anything; on the contrary, I and this movie needed them.
In a recent chat with THR, Montiel shared insights about the uncommonly smooth process of hiring Murray and reminisced about his experiences working with Williams on the set of Boulevard.
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You spent your formative years, including childhood and adolescence, in Astoria, Queens. During the ’80s, you were well-known within the New York City hardcore music scene. Later, you chronicled these intense experiences in a memoir titled “A Guide to Recognizing Your Saints,” which was published in 2003.
As a child, I often scribbled on napkins only for them to wind up in the trash. However, my friend Eddie gifted me some timeless black-and-white books from Cosmopolitan, which inspired me to continue writing as it brought me joy. Consequently, I penned an entire book using a pen, in the era of pens. I worked alongside a man named David Weemae at a Tower Records in New York City, and I sent him a photocopy of this book. Remarkably, the publishing company he was associated with brought it out for print, thus launching an unexpected journey.
After relocating to California in the early ’90s, you began your job at a recording studio that later hosted Robert Downey Jr.’s solo album, “The Futurist,” in the early 2000s.
In the movie “Guide to Recognizing Your Saints,” I crafted the character Dito, yearning for a life in California but not me, man. I’d have loved to stick around in Astoria forever, but circumstances weren’t on my side. Homelessness loomed, and work was scarce. Then, Jonathan Elias, an old buddy from New York recording sessions, set up shop in Santa Monica with a studio called Elias. He offered me a roof over my head and a gig in the dub room. We collaborated on “Leprechaun 2” and numerous other wild, off-the-wall movies. Our task was to score whatever projects came our way at the time.
In time, our days were filled with tinkering with iMovie, yet the idea of me ever being involved in the film industry seemed as distant as a dream in hell. I was too timid to envision such a prospect. We’d stitch together brief films using Leprechaun clips and recordings of my friend’s prison phone conversations, accompanied by Tom Waits’ music.
In the early 2000s, it so happened that Robert Downey Jr. was also making a name for himself [at that time], and I had known him from our shared experiences in New York over the years. It wasn’t unusual to cross paths with one of us, and it wasn’t difficult for us to encounter each other. So we were acquainted in a casual way, and naturally, I was a fan of his. He always showcased exceptional talent and remained cool. Therefore, he would often join us in the recording studio and find our iMovie ideas amusing. We also used to watch various bizarre videos on the early internet, such as people setting off fireworks dangerously.
In what manner did he acquire your book, and when did he introduce you to producer Trudie Styler and her husband, Sting?
In a surprising turn of events, my supervisor, Jonathan, handed my book to someone else, and Downey remarked, “This would make a great movie.” The idea left me utterly stunned. I recall thinking, “Oh my goodness, now it’s not just about having the book, but knowing what I’m doing.” Then he added, “I have a producer named Trudie Styler. She recently produced Lock, Stock and Two Smoking Barrels.” This revelation prompted me to rush out and watch it, and my response was, “Wow, this is impressive!
During my break from the recording studio, we shared lunch with her and discussed her book. We dined at Manny’s in Santa Monica when it was still around, and she showed genuine interest in it. She commented, “The narrative style is captivating. I could convince the writers of ‘Sexy Beast’ to pen this script.” The idea seemed far-fetched, but a small part of me hoped, “Could I potentially contribute?” However, I was hesitant to ask. Later, Trudy suggested, “If their script doesn’t impress us, then you can step in.” Yet, I knew their script would be impressive, so the prospect of getting involved seemed slim. Then she mentioned, “They won’t start working on the script for another six to eight weeks.” All I could focus on was, “You have six to eight weeks to come up with something if you want a chance.
Upon receiving the physical script of “The United States of Leland”, I began meticulously noting its structure. If I had my initial script, it likely resembled an inferior version of “The United States of Leland”. Initially, I assumed that “EXT.” denoted exiting, but it seemed peculiar for individuals to exit a street. One day, Robert clarified this for me, saying, “It’s exterior!” At the time, I was merely experimenting with reformatting my text into a new layout.
How did Sundance Institute get involved?
My 150-page screenplay circulated, and producer Leslie Urdang, whom I look forward to thanking personally someday, provided it to Michelle Satter who oversees Sundance Labs. She phoned me at my workplace in the dubbing room, and I responded, “Sundance? Yes, I’ve heard of you, but we haven’t made a film yet.” To which she replied, “No, it’s not the studio, it’s the Labs.” I inquired, “So, how much does it cost? Where is it located?” She responded, “It’s free in Utah. We will cover your travel expenses.
As a gamer, I found myself in an unexpected opportunity when Robert suggested I reach out to her right away. Taking his advice, I embarked on this journey and ended up sharing a living space with Sterlin Harjo, who later went on to create the movie “Reservation Dogs”. On my first day there, I was fortunate enough to work alongside some exceptional writers who supervised my projects. Among them were Frank Pierson, known for penning “Dog Day Afternoon”, Carlos Cuarón, co-writer of “Y tu mamá también”, and novelist Walter Mosley, renowned for writing “Devil in a Blue Dress”. Needless to say, I couldn’t have asked for better companions on this writing adventure. It was an incredible introduction into the world of scriptwriting, and it felt like a small miracle that I got accepted into Sundance Labs.
After revising and discussing the script for some time, Trudie asked you to create a short film featuring Downey as your character. This short film helped set the stage for the movie adaptation of “A Guide to Recognizing Your Saints.” Did Downey’s casting as the fictional Dito Montiel encounter any insurance-related obstacles? This was one of the challenges he faced during the casting process for Tony Stark.
At the time, there was no greater risk than myself, so I had nothing to worry about anyone else, especially not a talented actor like Robert. He was bold enough to bet on me, an opportunity that seldom or never presents itself. I recognized the serendipity of the moment, but chose not to dwell on it. Similarly, Trudie made daring decisions because she could, and I happened to be one of those impulsive decisions through Robert. This situation wouldn’t repeat itself.
Did you know that Downey Jr. was officially chosen to play Tony Stark on September 29, 2006 – the very same day ‘Saints’ hit the theaters? Can you share some insights about his activities during that entire year?
I recall thinking to myself, “Geez, what an incredible stroke of luck they must have had to land him!” He had shared with me that he had secured it, and I know Jon Favreau, the director of Iron Man, was a strong advocate for him. It’s clear that Favreau knew – perhaps more than I did – just how talented this individual is, and it seems his faith in him proved to be well-founded.
Was Saints one of Shia LaBeouf’s initial adult roles, portraying the younger character Dito? I remember he expressed that he was determined to shift people’s view of him as a Disney child actor, and during his audition, he went so far as to create a hole in the wall out of desperation. Do you remember if this actually happened?
What I’m saying is, even though I can’t recall that specific detail, it’s not unbelievable given Shia’s abilities. So I’ll wager that it checks out. (Laughs.) We share a kind of unique eccentricity. At the time, I was infatuated with a talented young actor named Anton Yelchin, and he happened to be managed by the same person as Shia. She reached out to me and I expressed my surprise, “Oh my goodness, you represent Anton Yelchin!” To which she replied, “You must see Shia.” So I looked him up and was hesitant, thinking, “The Even Stevens guy? I’m not sure.” But she reassured me, “No, no, he’s truly gifted. If you meet him, then you can meet Anton.” She even sent me a self-made VHS tape by Shia. In a room filled with ten people in Queens, the moment I played the videotape, an eerie silence fell over everyone. I was taken aback and exclaimed, “Wow, this is incredible!
Since you’ve consistently been working, from your time with the Saints right up to Robin William’s last live-action movie shown in theaters, does the film “Boulevard” hold a mix of sweet and bitter memories, considering its significance?
Absolutely, I developed quite a fondness for Robin during our brief time working together. That film was an absolute joy to be a part of. His performance was captivating and I admired every moment of it. He was incredibly generous and had a heart of gold. He affectionately nicknamed me the “Fun Police.” Now, the movie wasn’t exactly light-hearted, but when you combine Robin with Bob Odenkirk, there were bound to be some humorous moments. So he would joke, “Here comes the Fun Police” whenever I was around.
One time, I told Robin, “In this scene, you’re returning after spending the entire night out.” To which he replied, “I’ve done my homework on this, boss.” Over time, I grew deeply fond of him; it’s hard not to. With our circus lifestyle, we grow incredibly close for a few months at a time, then suddenly part ways. However, the thrill lies in the fact that you might encounter one of your close colleagues from the circus, be it an actor or crew member, on the streets of New Orleans years later – someone with whom you shared a strong bond for just a few months. Unfortunately, there are many aspects to miss about Robin’s departure, but for me, it’s disappointing that I won’t have the chance to unexpectedly run into him again in the future.
In your most recent movie, Riff Raff, there are several intense scenes that resemble the staircase scene from Boulevard and Saints, where characters often speak over each other and shout back and forth in a way that feels very authentic. Is this lively interaction achieved by keeping the production process casual?
Perhaps my fascination with Brian De Palma, one of my all-time favorite directors, stems from a disordered upbringing. What captivates me about him is his ability to guide and direct precisely when needed, creating something profoundly artistic and moving. However, I lack that skill and my mind operates differently. I find it hard to comprehend and apply the markings or symbols he might use. This doesn’t mean I don’t value his work; quite the contrary, it greatly influences me. Instead, I meticulously plan my own scenes in a unique way. I scout locations with my iPhone, and I enact these scenes with my team, even if the acting is far from professional. This unconventional method allows me to immerse myself fully in the scene.
As a gamer navigating through life’s scripts, I prefer a rapid-fire dialogue to keep the energy high and the action moving. If I were to instruct each actor to patiently wait for their turn to speak, it would slow down the pace significantly. Plus, it might feel forced or unnatural under my direction. Growing up near a train on 31st Street in Astoria, I learned that when the train horn blared, we all just shouted louder. So, I bring that same spirit to my directing, finding it exhilarating when an actor can match this pace. It might be chaos for the sound team, but I’m more concerned with creating a realistic feel. If a few words get lost along the way, so be it. Who needs perfection?
How did you manage to assemble such a diverse cast, ranging from Dustin Hoffman and Brian Cox to Ed Harris and Bill Murray for Riff Raff?
In my view, there’s no poor choice in that situation, but it often happens with indie or any movies. You spend hours dreaming at home, and if your dream becomes reality, it’s remarkable. If it turns out exactly as you imagined, then it’s nothing short of a miracle. Actors can clash, and it seems like the end of the world when it does, but I was watching “White Lotus” one day, thinking “This woman is incredibly talented.” Turns out, my wife had to remind me who Jennifer Coolidge is – apparently, I was the last person on Earth to know her. She was the first cast member signed on, and she’s a favorite of many fans.
After Sundance Labs, I held onto Ed Harris’ old email address. I thought to myself, “Perhaps it’s time to make use of this.” So, I emailed him late at night, saying, “Hey there, I don’t know if you recall me, but I have a script I’d like to share.” He replied the next day, saying, “I appreciate Jennifer Coolidge, and I remember you. I’ll give it a look.” And I was taken aback, thinking, “Oh my goodness!” He wrote back again the following day, expressing that he found it good and wanting to discuss it further.
One day, producer Adam Paulson casually mentioned to me, “You’re going to receive a call from a well-known number you might recognize – it’ll be Bill Murray.” And I was taken aback, thinking, “Wow!” This interaction with Bill was much like my experience with Robin. He’s an exceptional actor, and the dedication that Bill and the other actors showed towards such a small film was astonishing. They didn’t require this project or me; it was the opposite – I needed them and this movie without a doubt.
We haven’t discussed them yet, but Pete Davidson, Gabrielle Union, Lewis Pullman, and even Shia LaBeouf add to the abundance of talent. I must admit, I wasn’t familiar with Lewis Pullman before, but when I come across such exceptional actors, I am genuinely astonished. It all started with Shia’s VHS tape.
It’s good to know you didn’t need to track down Bill using his well-known phone number this time, however, it seems like you’ve had to do so with him in the past.
Absolutely, I’m quite active in reaching out to people. I’m known for it, you could say. Every now and then, I receive emails or messages at least twice a week on platforms like Instagram or Facebook. People often share stories with me about crimes they’ve committed, thinking I might be interested. But let me clarify, I’m not the person to approach with such tales. (Laughs).
Since I was engrossed in watching “White Lotus,” I ended up reaching out to DP Xavier Grobet instead of going through agents. I also appreciate his work on “Before Night Falls.” That’s how I found him on Facebook. You know how it is – good luck with everything! However, I wrote to him and surprisingly, he agreed. So despite my jokes, I remain that person who seeks out people wherever possible. It’s just part of the job.
Gabrielle Union’s character’s son, known as DJ, is a captivating teenager who seems more mature than his age. He carries himself with a wisdom that suggests he’s not just eighteen, but perhaps forty-eight as well. He’s definitely got an old spirit about him.
Initially, I pondered, “Who on earth will tackle this? There’s a strong risk it could become Urkel-like very fast, resulting in a catastrophe.” However, Miles J. Harvey unexpectedly appeared at an open call, and the performance just poured out of him effortlessly. As we progressed through one scene, I found myself exclaiming, “We’ve got it! We’ve found him!” And he responded, “I can do another scene if you prefer.” Being overly eager, I agreed, “Sure,” so he completed the entire film. It was unbelievable. The man is clearly unhinged, and I couldn’t help but grow fond of him.
Exceptional performers often bring unique elements to their roles that I hadn’t anticipated, which is part of the reason I don’t create storyboards. I rarely envision actors while writing and instead, I simply write the script, leaving it for them to explore during auditions. Channing Tatum was precisely this kind of surprise for me on the set of Saints. Initially, I had written a character who was difficult to love, someone who in reality wasn’t particularly attractive and was quite a mess. I admit, when Channing walked in, I had my doubts. However, he possessed an uncanny resemblance to the character from Of Mice and Men, where he would grip you unintentionally, then try to fix what he’d broken but ultimately fail. This was far more intriguing than anything I had written at one in the morning. We can all imagine brilliant lines in our heads, convinced they are gold, but they transform once the perfect actor steps into the role. I embrace these unexpected changes.
You thanked Trudie in the credits of Riff Raff. Was she involved at a certain point?
As a gamer, I put my heart and soul into playing “Saints” because I was petrified of being kicked out of this gaming community. Despite not having the usual pedigree, someone took a chance on me, and I’ve been incredibly fortunate in life. So, I don’t feel like I’m repaying her debt, but whenever I create a game, I make sure to send it to her. She appreciated “Riff Raff,” and though we almost collaborated on it, she had another project first. For her and Charlie Corwin, the producers of “Saints” who are also my dear friends, I always include them in my thanks.
Previously mentioned, the character of Dito in Saints portrays an aspiration to be a musician in California, which is a part of your life that hasn’t been shown on screen. Notably, your second band, Gutterboy, secured an impressive $1 million deal with Geffen Records back in 1989. Are you contemplating the idea of bringing your music career to life through dramatization at some point?
The novel “Boulevard” was penned by an individual who emerged as a single man in his sixties, having been married for four decades, yet the narrative resonated deeply with me as if it were about my mother. Whether or not the character was homosexual remains uncertain. To me, it’s an act of self-centeredness. I often yearn to connect with stories like Transformers, hoping they would reach out to me, enhancing my life in some way. However, I strive to understand a story before immersing myself in it, subtly incorporating elements of my experiences or those close to me into my work. But when it comes to narrating music tales, I am no Bob Dylan – that much is clear.
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Riff Raff is now playing in movie theaters.
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