As a film enthusiast who has witnessed the evolution of cinema over the years, I must say that it is truly fascinating to observe the career trajectories of talented actors like Giovanni Ribisi. His journey from a small-town college student quoting lines from “Boiler Room” to becoming an integral part of some of Hollywood’s most iconic films is nothing short of poetic.
It’s not your imagination playing tricks: Indeed, it’s Giovanni Ribisi – the same Giovanni Ribisi with over a hundred acting credits since 1985 – who took on the roles of both photographer and producer for JT Mollner’s critically praised thriller titled “Strange Darling“. This film features an unconventional storyline presented across six chapters, delving into the repercussions of a fateful one-night stand shared by Kyle Gallner as his character, The Demon, and Willa Fitzgerald’s enigmatic next target, credited as The Lady.
Over the span of four decades in film and television, Ribisi has consistently admired the craftsmanship of his directors of photography. He acknowledges several of these DPs for imparting their knowledge to him, starting with Dante Spinotti whom he collaborated with on Michael Mann’s “Public Enemies” (2009) and Garry Marshall’s “The Other Sister” (1999). The late Andrew Lesnie, who lensed Peter Jackson’s “The Lord of the Rings” trilogy and won an Oscar for “The Fellowship of the Ring,” served as a role model during their collaboration on “Love’s Brother” (2004). More recently, he expresses gratitude towards Russell Carpenter following their work together on “Avatar: The Way of Water” and “Avatar: Fire and Ash.”
For the past 15 years, Ribisi has transformed his love for photography into resources aimed at making movie-making more economical and available. His studio, Stellascope, emphasizes celluloid use, and at a previous ASC [American Society of Cinematographers] Awards gathering, Ribisi and Mollner quickly bonded over their shared enthusiasm for film stock. With a background in photographing music videos and advertisements, Ribisi expressed his desire to operate the camera for a feature film. As a result, Mollner began sending Ribisi several feature film scripts until he was captivated by one script titled “One Night with You“.
Originally titled “One Night with You”, the film was later renamed to “Strange Darling”. Producers Roy Lee and Steve Schneider, working at Miramax, supported the project and helped convince the director, Mollner, to cast Ribisi as the cinematographer. This decision led to a 96-minute thriller that was filmed entirely on 35 mm film. Like many advocates of celluloid, Ribisi disputes the common assertion that shooting with film is more expensive than digital technology.
“Contrary to popular belief, shooting with film isn’t always pricier in the long run. In fact, it’s no more costly than digital when you consider the hidden expenses. It’s not just about the cost of the film, there are additional factors that drive up the price tag for digital.” (First-person perspective: “I often find that people misunderstand film shooting costs. But in reality, it’s not always pricier than digital when you take into account all the extra expenses.”)
The acting career of Ribisi remains as active as it’s ever been, and his involvement in James Cameron’s Avatar film series isn’t the only proof. He’s now a significant player in Kevin Costner’s extensive multi-film project called Horizon: An American Saga. In the coming third and fourth installments, Ribisi’s character, H. Silas Pickering, is anticipated to emerge as a major antagonist. Despite the underperformance of Chapter 1 at the box office, Ribisi is optimistic that Costner will successfully bring his vision to fruition. The second chapter, set to premiere on Sept. 7 at the Venice Film Festival, was filmed concurrently with the first one.
“Ribisi expresses great confidence, saying that when this man makes a move, especially on such a significant scale, it’s bound to succeed spectacularly. He admits to an unwavering allegiance towards him. He’s impressed by the risks this man has taken. It’s astounding, Ribisi says, that ‘Chapter 2’ is heading to the Venice Film Festival, and he believes it’s well-deserved recognition. He considers the screenplays for ‘Horizon’ among the best he’s ever read. As a big enthusiast of Western films, and a dedicated fan of Kevin Costner, Ribisi expresses his enduring admiration.”
In a recent chat with THR, Ribisi shares insights into some unexpectedly tricky facets of filming Strange Darling.
When I initially received the email mentioning you and Strange Darling, I saw ‘DP’ written beside your name, which I thought was a typo. I had no idea you possessed such a diverse skill set. In your spare time on film sets, did you often spend it with the camera and lighting crew? Is that where this talent originated?
I’ve definitely hung out with the camera departments on movies. For the last 40 years, it’s always been my fascination, and it’s something that I’ve been seriously working on for 15 years. So I finally decided to more or less come out of the closet with Strange Darling and JT [Mollner], because it was a story that I was just so drawn to. It was just something where the proverbial stars aligned.
Is there a particular DP from a past set that imparted the most wisdom on you?
Absolutely, I’d agree with your implication that it was mostly others who were affected due to my nuisance. However, I’d like to highlight Dante Spinotti, whom I had the pleasure of collaborating with years ago on Michael Mann’s “Public Enemies.” Unfortunately, Andrew Lesnie is no longer with us, but his work as a cinematographer was truly exceptional. He’s best known for shooting the “Lord of the Rings” films and many more. Along the way, I also had the opportunity to work with Russell Carpenter, Sal Totino on “The Offer,” and Reed Morano on “Meadowland.” The list continues to grow.
After making some music videos and advertisements to gain experience, can you explain how this led to the creation of Strange Darling?
Over the past 15 years, I’ve been establishing and funding a small production studio named Stellascope, primarily based on the belief that today’s films are excessively large and costly. Regardless of one’s age, breaking into the industry has become virtually unattainable. The process of creating a film and reaching completion is almost miraculous, but with budgets exceeding $200 million, it transforms into an almost unreachable fantasy.
In summary, I established a production studio tailored for filmmaking, detailing every aspect from pre-production to post-production. This point was crucial in my discussion with JT, where I highlighted my skills as a cinematographer and the extensive knowledge I possess about filmmaking. It’s more than just capturing images or narrating stories through a camera; it involves understanding every role on a film set. I am well-versed in the capabilities of my company and its potential to handle projects efficiently, which led me to propose a cost-effective solution for JT’s movie, aiming to create it at a significantly lower budget than typical films while maintaining success.
Another crucial aspect to consider is that when you’re working under a budget as vast or extravagant as the typical Hollywood production system, it can stifle creativity rather than foster it. When attempting to think outside the box or devise creative solutions, one often feels the weight of potential financial loss and the pressure that comes with it. This pressure can influence the film’s quality, leading creators to focus more on meeting certain criteria for marketing purposes or commercial appeal, instead of crafting a film that resonates effectively and emotionally with audiences.
Filmmakers often tell me they face challenges when trying to shoot on film, especially in the big studios and even more so in the independent scene.
JT and I shared a common appreciation for film photography, not merely for the superior output it provides, but also for the unique experience that sets it apart from digital counterparts. It’s a niche community that understands the financial implications of every frame captured, as each shot incurs actual expenses. This point is often misconstrued as an argument against film, with many misunderstandings about its cost. Contrary to popular belief, film is not necessarily more expensive when you consider the total costs involved. The additional costs associated with digital equipment are what make film a more affordable choice. I anticipate that once the budget for this movie is disclosed, many will be taken aback by the cost-effectiveness of film.
As a dedicated fan, I must say that the marketing campaign for Strange Darling has been the cherry on top! It enhances my viewing experience and makes it even more fulfilling. Normally, trailers can take away from the actual experience by revealing too much of the film’s structure. However, this campaign does quite the opposite – it leaves me craving for more!
It might be sacrilege for me to say this, but I truly believe that the marketing for a movie is an audience’s first experience of the film and of the story. You are essentially giving them expectations before they actually experience the film, and it is so massively important. Most of the filmmakers that I’ve talked to and who I respect feel the same way. I’m talking more from a creative standpoint than a “butts in seats” standpoint; they’re two different topics. But, from a creative perspective, it’s great when everything comes together in this way, and the team at Magenta Light Studios and the people that I’m working with over at ID PR are phenomenal. They have exceeded any sort of expectations that we might’ve had.
In the movie, the story unfolds across six unconventional sections, and it starts with the car chase scene from chapter three. Was that particularly challenging for you during your first time serving as Director of Photography?
In other words, I’ve worked on numerous commercials featuring car scenes, and a device called a Ucrane by Filmotechnic has been particularly helpful. This vehicle has an extendable arm mounted on top, reaching up to 25 feet high and rotating 360 degrees. A camera is attached to its end, providing stability with a swiveling head. With this tool, we can accomplish almost anything within the given timeframe. We included it in our budget, and it proved crucial for that specific sequence. So I’d say that dealing with car scenes was one of the less challenging aspects of our work.
It might not be what they teach at film school since I haven’t attended one myself, but preparing for that action sequence was an extensive process involving months of discussions, storyboarding, and creating shot lists. It attracted numerous companies from different parts of the world, and coordinating everything was a massive undertaking. However, the orange Pinto car only managed 35 miles per hour, which caused some unexpected challenges on set.
In a surprising turn of events, there was a last-minute change in our filming location just a week before we were scheduled to shoot. To summarize, our production designer, Priscilla Elliott, had only 18 hours on a Sunday to prepare the motel room for shooting. The significance of knowing where you’re going to shoot cannot be overstated, from the cinematography and blocking to the set design. Many filmmakers I know are currently preparing for films that will be shot in November or December, giving them ample time for pre-production. However, we were given just 18 hours.
Although you made a voice appearance, it seems like you might have preferred to be on screen if you wished. Why did you choose to stay off-camera instead?
The casting of Kyle Gallner and Willa Fitzgerald was crucial for this film because they perfectly fit the required roles. Many films have been directed and acted before, but the actual shooting process is a unique event. Michael Chapman, who played a cab driver in “The Last Detail“, also handled the cinematography for the movie. However, I enjoy being behind the camera too, so it would have posed a challenge for me to do both roles simultaneously.
Besides JT’s father, Duke Mollner, it is also possible that you were another visitor staying at the motel nearby.
(Laughs.) Excuse me, do you guys have any ice?
Between Avatar and Horizon: An American Saga, you seem to be a magnet for multi-film sagas.
(Laughs.)
In the local community, there’s a common phrase that one shouldn’t underestimate James Cameron. Could we say the same about Kevin Costner? Given his determination, do you believe he will successfully realize his creative ideas?
I am completely confident that whatever task this man undertakes, especially at this scale, it will not only be completed but also turn out to be simply breathtaking. My admiration for him is boundless. Notice how much he has risked and the stakes he has raised. It’s astonishing. The film Chapter 2 is headed to the Venice Film Festival, and it truly deserves this recognition. Among all the screenplays I have read, the ones from Horizon stand out as some of the best. As a devoted enthusiast of Westerns, and of Kevin Costner, my appreciation for both will never wane.
Your professional debut coincides with another three-hour Costner film, “The Postman”. It’s quite poetic, don’t you think? I always find it fascinating when careers start and end on similar notes.
(Laughs.) Yeah, that was a long time ago, my God.
Recently, there has been some unfortunate news in the world of Avatar, as the film’s producer, Jon Landau, passed away. Landau played a significant role in silencing those who doubted James Cameron’s success. Do any specific memories come to mind now?
There’s just countless numbers. He was an incredible inspiration to everyone he interacted with. His family is truly wonderful, and we’ve lost a true gem from the film industry. I can only imagine how everyone on the set of Avatar feels, as it’s difficult because there are no words that fully capture it.
In a different context, what if we were to revisit one of your previous projects using the style of ‘The Offer’, a series that delved into the creation process of ‘The Godfather’? If you had the chance to apply this treatment to any past project of yours, which one would potentially result in the most captivating narrative?
Man, let me tell you, the journey I’ve been on is unforgettable! Back in the ’90s, as an aspiring actor, there was a unique vibe when it came to making films. I yearn for those days of selfless dedication and relentless pursuit of pushing the boundaries of cinema. It was all about giving your heart and soul to a project, and that intensity produced some truly remarkable moments.
During my college years, there were some movies that seemed to be ubiquitous on campus. You’d frequently hear the same DVDs playing from students’ dorm rooms. Among these popular films, Boiler Room stood out. It was constantly watched and its quotes were often heard, possibly because we all aspired to join the workforce and make our fortunes. (Note: My college roommate was so inspired by Giovanni’s character that he initiated his own underground card game from our apartment-like dorm. He even constructed a custom tabletop for the game, which had one side as a card table and the other as an ordinary coffee table to avoid suspicion. However, this operation lasted less than 48 hours before it was shut down when a few people won large amounts of money.)
Absolutely, I maintain a connection with filmmaker Ben Younger. I’m eagerly awaiting his future projects, as I believe he has more in store. That period was truly intriguing and memorable. Whenever I visit New York, people often approach me to discuss this very topic. It’s amusing how frequently it comes up in conversation.
Boiler Room is what should get the Offer treatment.
(Laughs.) I’m sure it would be enthralling.
***
Strange Darling is now playing in movie theaters.
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2024-08-23 23:26