August 16, 2024 • 14 mins
Today Giovanni Ribisi pops by our studio and has a chat with us!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Down the street in New York City. You see Giovanni
Ribisi walk by, what's the first thing you screamed? So
let me ask Giovanni Ribisi when you're walking down the
street in New York City. All the roles you've been
playing in all these years, which one resonates the most
to New Yorker.
Speaker 2 (00:13):
It does change from cities or wherever you are in
the world or the US, it's usually in New York
it's boiler.
Speaker 1 (00:20):
Room, boiler room. So what what was your role? Remind us?
Speaker 2 (00:25):
I played a guy who got mixed up in a
company that turned out to be illegitimate, a bunch of criminals,
and it was loosely based on a true story, I guess.
But really, it's amazing how many people come up to you,
to me and say I used to do.
Speaker 1 (00:42):
That, especially in New York City. It's badge or something,
you know, like some of my favorite roles you've done.
I find that there's the commonality. There's douchebaggery a little bit. Wow.
I mean you tried to steal ted was the first?
Speaker 2 (00:58):
Yeah, you're right, Yeah, Are you allowed to say douche bangerine?
Speaker 1 (01:02):
I think so?
Speaker 2 (01:03):
I mean he just did what Avatar and you're allowed
to say that too. You had to say, yeah, around
there in that area, all.
Speaker 1 (01:16):
The interesting roles you have played. And then the death
scene of course in saving Private Ryan was was that douchebaggery? No,
not on your part? I killed you? Yeah, yeah, But
all these roles you've been playing, you've been tackling since
nine years old. You grew up in this business.
Speaker 2 (01:34):
Yeah, I was nine years old. Well, you know, I
grew up during the blockbuster era. You know, I think
my first movie was Star Wars, and it was also
during a time when censorship and the rating system for
age groups wasn't really a thing. You know, Like my parents,
they'd go see movies and it was always you know,
it would be a musical, you go. I mean I
remember I saw Jaws probably in the theater when it
(01:55):
came out.
Speaker 1 (01:56):
Right, I remember that too. Yeah. So, but growing up
on set, you saw things we don't see, you know,
in a theater anywhere or watching on TV. You saw
what it took to put a film together. You saw, yeah,
everything including the person standing behind a camera that's right, yeah,
trying to capture this square of activity.
Speaker 2 (02:14):
Yeah, it was always this fascination, you know, I went
to school on movie sets and television sets and the
camera department where they were kind of like my schoolmates,
you know, and it was something that I really wanted
to do. I started cinematography. I think it was probably
about fifteen years ago, but I was always kind of
staying in the closet. And then I read this script
(02:35):
that my friend had written. J. T. Mulner, the writer
director of Strange Darlings, was coming out, and literally within
fifteen minutes I was calling him and begging him to
be a part of it.
Speaker 1 (02:45):
And then he had seen my Cinematographery.
Speaker 2 (02:47):
He came over to my shop, and I guess the
conversation sort of evolved and suddenly we were like making
a movie.
Speaker 1 (02:53):
So many moving parts to making a movie there is
and we don't truly a miracle.
Speaker 2 (02:57):
I mean, it really is incredible, and this one was
exceptional in that way.
Speaker 1 (03:02):
Let's talk about it. Let's talk Let's talk about Strange Darling.
It comes out August twenty at twenty third, so I
mean we're basically almost on the eve of it coming out.
Speaker 2 (03:12):
Yeah right, Yeah, it's nervous.
Speaker 1 (03:14):
Yeah.
Speaker 2 (03:14):
Well, so there was a screening last night, a pre screening,
so the cat is sort of already out of the back.
Speaker 1 (03:19):
We can't.
Speaker 2 (03:19):
It's hard to talk about because this one specifically, you
do want to go in blind, as a lot of
people are saying. But I will say, and I mean this,
it's truly like nothing you've ever seen.
Speaker 1 (03:30):
Let's talk about it. Yeah, I mean all the moving
parts in creating a film as we're talking about actually
writing the film, the story itself. This story has to
do with someone going on a date and things get
very weird.
Speaker 2 (03:40):
I think the log line is it's one night in
the romantic life of a serial killer or something like that. Okay,
but that really doesn't do a justice. When I read it,
I was just like, I just this is something that
I had to be a part of. And it was
also I met JT. Mohner through a mutual friend, and
we have a mutual affinity for film, for thirty five
(04:01):
millimeter film, and so that was a big factor in
the whole process. If you're asking about the process that
we shot on celluloid, wow, yeah, so yeah, No, it's
not hard.
Speaker 1 (04:16):
No it's not it's just another no no, well no
it isn't it.
Speaker 2 (04:21):
That's one of the things because of the you know,
the convenience really of digital. This is what has given
people this misconception that film is more difficult and also
more expensive, and it really isn't. And and I think,
you know, this was a low budget movie. I mean
like I would say micro budget, and yeah, we were
able to shoot on film and we had, you know,
(04:42):
an extensive schedule. I think the biggest thing was that
we were able to plan and prepare for a good
four or five months together because it was COVID, you know,
so it was just kind of like, well, what else
are we going to do? And so we watched movies.
We had an eighty three page document that was you know,
typed out and the shot lists and you know, testing constantly,
(05:02):
and it was just like an incredible experience.
Speaker 3 (05:05):
It does shooting on actual film versus doing it digitally
make people maybe behave a little bit better or do
their lines better and be on point more.
Speaker 2 (05:14):
So that's a huge factor. I was saying last night,
the process of shooting film, when when the cameras are rolling,
you have to focus more. It's not like you're shooting
ten hours of digital footage every day. And for that specifically,
it's about looking at what you're doing because you do
(05:35):
you do you look at the scene, the actors, the
light differently, at least I do. I think that it
demands your attention in a specific way.
Speaker 1 (05:43):
One has the DP the directory of photography. I mean,
this is what you do well. So out of all
of the moving parts in this film, Yeah, okay, let
me run to a list. What does a best boy do?
I see that at the credits all the time. Yeah.
Like if I was a younger twinkie, more gay guy,
I'm an older twinkie gay guy. Now I would be
(06:06):
the best boy. It sounds like you get a lot
of action, but what do they really do?
Speaker 2 (06:09):
So a best boy works right under the gaffer?
Speaker 1 (06:13):
What's the gaffer doing?
Speaker 2 (06:16):
So a gaffer actually comes from it. It's a stagehand expression.
Where before there were cameras where you actually have a gaff,
which is a long hook where people would reach up
on stage and they would move lights with a gaff,
And so they were called gaffers, and they are the
cinematographer's right hand person. They usually are in charge of
(06:40):
the lights and sort of more on a technical side.
But but it changes from the dynamic and the relationship
with a gaffer and a cinematographer is different for everybody. Sometimes,
you know a lot of people will say, well, that
guy the gaff were actually lit that movie, you know, yeah, exactly,
But my gaffer fell out three days before the movie started.
(07:06):
So I was running around calling people, desperate, trying to
figure something out. Uh so the best boy can't be
the best placing a stepped up for one of those days.
So he was a gaffer, the second gaffer that I had.
But then Mike Vucas came in and was just not
only just an incredible talent, but also just a sounding
(07:29):
board for you know, the rigors of what making a
film can be.
Speaker 1 (07:32):
So then what's the key grip?
Speaker 2 (07:34):
So yeah, so a key grip is the guy basically.
So there's two departments really that are in the cinematography camera.
Speaker 1 (07:45):
Well, there's three.
Speaker 2 (07:45):
I mean there's the camera department, right, so there's there's
the people looking after the camera, there's the lighting folks,
and then there's the grip department, which are hanging flags
or dolly grips or there's you know, So the key
grip is the person who is the head hauncho I
guess in the grip department.
Speaker 1 (08:05):
Okay, there's a I'm kind of loosely getting to a
point here. Everything you have to do to get a
film started and underway and then released, it sounds like
an amazing task.
Speaker 2 (08:16):
Oh it's unbelievable. It really is a miracle. And anytime
a movie gets made it's insane. And for that reason,
it's you know, I go to the movies, I watch anything.
I love movies. You know, even if it's a bad film,
I have popcorn. I'm happy, you know what I mean?
Because I look at it, you feel like you always
learn something. I think it's funny.
Speaker 3 (08:33):
Though you are talking about how much goes into it,
and clearly it's a lot. It takes years, it takes
a lot of knowledge and experience, and then we watch
an hour and a half and sit on our couch
and critique.
Speaker 1 (08:42):
Yeah no, no.
Speaker 2 (08:48):
Said that there's a tomato meter.
Speaker 1 (08:55):
Are we serious? There's a what.
Speaker 3 (08:58):
Like when the Olympics pull on someone's on a balance
being more.
Speaker 2 (09:01):
I'm like, oh yeah, raging bull and there's a tomato meter.
Speaker 1 (09:06):
I think that we need. I want to get to
the film. Let's talk about strange Darling. Here's the thing
you at the beginning, you said, well, I don't want
to give too much away here because we need to
keep it close and not give any secrets away. But
give me some meat and potatoes. That's gonna get everyone
to go. Okay, beyond the beautiful photography, I'm gonna go
(09:29):
see what else is going on in the film.
Speaker 2 (09:32):
The story and the experience of the movie is like
nothing you will experience. And in a sea of people
buying it by the yard, as they say in streaming
and all, this is something very unique and special.
Speaker 3 (09:46):
I read a couple of things about it that you
haven't said. But as far as the tomato system goes
that you're not a fan of, I read that you
guys got one hundred percent on Rotten Tomatoes, which is incredible.
Speaker 1 (09:57):
Well, you're sitting amazing tomatoes.
Speaker 3 (10:04):
But also that Stephen King was praising the movie.
Speaker 1 (10:07):
Yeah, that's gotta feel great. You get your film or whatever.
Speaker 2 (10:10):
Just Stephen King, well, somebody sent him a link and
he watched it, and yeah, I guess he tweeted it.
Speaker 1 (10:16):
When you go to call, your first thought was I.
Speaker 2 (10:19):
Couldn't believe it. I texted the director. I was like,
I think you made it? Like what else is there?
Speaker 1 (10:24):
After that?
Speaker 2 (10:25):
Wow?
Speaker 1 (10:26):
What else?
Speaker 2 (10:26):
Did?
Speaker 1 (10:26):
What else? Has he not said.
Speaker 3 (10:29):
I mean, I still I'm very interested in what a
producer actually is because it seems like that such a
broad spectrum. Sometimes I know it's just a name, I
know it. Well, Okay, so I've been watching Entourage, which
you're also in, because you're in everything, and you know
it's amazing. I'm like, I've seen him everywhere. He does
so much. But in Entourage they often allude to, if
you do this, we'll give you a producer credit, and
(10:49):
that's in my head. What producers do is that, you know,
they buttered someone up and they got this title.
Speaker 1 (10:55):
Yeah you can.
Speaker 2 (10:56):
Yeah, there is that version of a producer where you
can butter someone up and they're not like they don't know.
Speaker 1 (11:00):
What they're exactly like.
Speaker 2 (11:04):
You is a sharp guy, not doing anything, sitting over there.
He even changed chairs and the microph he did.
Speaker 1 (11:13):
But what you did. Giovanni even said that you were
out scouting locations on your own. That seems like a
producer's type.
Speaker 2 (11:19):
Yeah, I mean, you know you'd scout a location for
me at least, you know, I like to understand what's happening,
especially if it's an exterior location. But also, you know,
I think it's just like pre lighting and doing all that.
There's a lot that goes into prepping a location that
for you know, for for photographing.
Speaker 1 (11:34):
I consider and talk to you for hours. My gosh,
I mean, because I was just saying in the bottom line,
and everyone knows that we have a guest come in.
They come in because they want to talk about their
film Strange Darling and get people to go see it.
I get that, Yeah, but there's so much more to
you that I want to talk to you about. It's
just what a fascinating life you're living and to be
able to share that with us is a gift for us.
And I think you'll thank you. Thank you so much. Yeah,
(11:57):
thank you for having me the favorite role you ever
as an actor. To pardon.
Speaker 2 (12:04):
Specifically, I guess it would be more of a compartmentalization
of having worked in the in the nineties was, in
retrospect such a joy and the early aughts, I guess
people say because it was less cell phone, less social
networking and really about opening books and researching. And I'm
(12:27):
thinking about saving Private Ryan and the group of people
that were on that and I remember the you know,
we had a boot camp experience for that for two
or two and a half weeks. Wow, that was yeah,
unheard of today, Like I don't know if people would
do that.
Speaker 3 (12:45):
I heard something about that.
Speaker 1 (12:46):
Yeah.
Speaker 3 (12:46):
Is it true that they put all of you, the
soldiers who were going to rescue Private Ryan through the
boot camp and they didn't make him do it, so
that there was a little bit of, h we're going
to get this guy.
Speaker 1 (12:55):
Yeah, there was a little bit of that. Yeah.
Speaker 2 (12:57):
So Matt wasn't there, but Tom Hanks was there. I mean,
the whole cast was there, and it was it was incredible.
I mean we were sleeping in mud for two weeks
in rain and I remember, you know, your fingers are bleeding.
We were eating what looked like wet cat food and
they had salt peter in it. So you oh, I
(13:20):
won't go into what that does.
Speaker 1 (13:24):
It's I guess we had.
Speaker 2 (13:27):
To call him Captain Dale Die, but he was actually
a colonel from what I learned later, was the smartest,
most articulate, could run further faster. It was just unbelievable
and put us through something that where we had a
sense of accomplishment. It was more than just a movie
(13:49):
in that way. Maybe that's around today. If if it is,
I mean, point me in the direction, you know.
Speaker 1 (13:55):
Wow. Well, congratulations ahead of time on strange Darling. Oh,
thank you, even Tree just to the point where I
kind of wonder what it's about.
Speaker 2 (14:02):
Yeah, I'm serious, it's good. It's you know, it's crazy. Really,
I mean, we wanted to make a movie. It was
an eighty three page script. It was four characters. We
you know, what are we going to do with that?
We our aspiration was essentially to not end up in
the iTunes graveyard, right, And then Jaz really did something specially.
(14:23):
He's such a special talent with this and and it
grabs you. People are talking to the screen, it's like this,
you know, and so you know, I'm not saying that
for me, I'm saying that for him and this emerging
filmmaker who broke through. It's just it's great to see.
Speaker 1 (14:38):
And yeah, excellent. Well, congratulations again on everything that brought
you to this point and where you're going next. Thank you,
excellent Giovanni Rubisi. Thank you for having whoa whoa
Speaker 2 (14:49):
Whoa whoa wo
Down the street in New York City. You see Giovanni
Ribisi walk by, what's the first thing you screamed? So
let me ask Giovanni Ribisi when you're walking down the
street in New York City. All the roles you've been
playing in all these years, which one resonates the most
to New Yorker.
Speaker 2 (00:13):
It does change from cities or wherever you are in
the world or the US, it's usually in New York
it's boiler.
Speaker 1 (00:20):
Room, boiler room. So what what was your role? Remind us?
Speaker 2 (00:25):
I played a guy who got mixed up in a
company that turned out to be illegitimate, a bunch of criminals,
and it was loosely based on a true story, I guess.
But really, it's amazing how many people come up to you,
to me and say I used to do.
Speaker 1 (00:42):
That, especially in New York City. It's badge or something,
you know, like some of my favorite roles you've done.
I find that there's the commonality. There's douchebaggery a little bit. Wow.
I mean you tried to steal ted was the first?
Speaker 2 (00:58):
Yeah, you're right, Yeah, Are you allowed to say douche bangerine?
Speaker 1 (01:02):
I think so?
Speaker 2 (01:03):
I mean he just did what Avatar and you're allowed
to say that too. You had to say, yeah, around
there in that area, all.
Speaker 1 (01:16):
The interesting roles you have played. And then the death
scene of course in saving Private Ryan was was that douchebaggery? No,
not on your part? I killed you? Yeah, yeah, But
all these roles you've been playing, you've been tackling since
nine years old. You grew up in this business.
Speaker 2 (01:34):
Yeah, I was nine years old. Well, you know, I
grew up during the blockbuster era. You know, I think
my first movie was Star Wars, and it was also
during a time when censorship and the rating system for
age groups wasn't really a thing. You know, Like my parents,
they'd go see movies and it was always you know,
it would be a musical, you go. I mean I
remember I saw Jaws probably in the theater when it
(01:55):
came out.
Speaker 1 (01:56):
Right, I remember that too. Yeah. So, but growing up
on set, you saw things we don't see, you know,
in a theater anywhere or watching on TV. You saw
what it took to put a film together. You saw, yeah,
everything including the person standing behind a camera that's right, yeah,
trying to capture this square of activity.
Speaker 2 (02:14):
Yeah, it was always this fascination, you know, I went
to school on movie sets and television sets and the
camera department where they were kind of like my schoolmates,
you know, and it was something that I really wanted
to do. I started cinematography. I think it was probably
about fifteen years ago, but I was always kind of
staying in the closet. And then I read this script
(02:35):
that my friend had written. J. T. Mulner, the writer
director of Strange Darlings, was coming out, and literally within
fifteen minutes I was calling him and begging him to
be a part of it.
Speaker 1 (02:45):
And then he had seen my Cinematographery.
Speaker 2 (02:47):
He came over to my shop, and I guess the
conversation sort of evolved and suddenly we were like making
a movie.
Speaker 1 (02:53):
So many moving parts to making a movie there is
and we don't truly a miracle.
Speaker 2 (02:57):
I mean, it really is incredible, and this one was
exceptional in that way.
Speaker 1 (03:02):
Let's talk about it. Let's talk Let's talk about Strange Darling.
It comes out August twenty at twenty third, so I
mean we're basically almost on the eve of it coming out.
Speaker 2 (03:12):
Yeah right, Yeah, it's nervous.
Speaker 1 (03:14):
Yeah.
Speaker 2 (03:14):
Well, so there was a screening last night, a pre screening,
so the cat is sort of already out of the back.
Speaker 1 (03:19):
We can't.
Speaker 2 (03:19):
It's hard to talk about because this one specifically, you
do want to go in blind, as a lot of
people are saying. But I will say, and I mean this,
it's truly like nothing you've ever seen.
Speaker 1 (03:30):
Let's talk about it. Yeah, I mean all the moving
parts in creating a film as we're talking about actually
writing the film, the story itself. This story has to
do with someone going on a date and things get
very weird.
Speaker 2 (03:40):
I think the log line is it's one night in
the romantic life of a serial killer or something like that. Okay,
but that really doesn't do a justice. When I read it,
I was just like, I just this is something that
I had to be a part of. And it was
also I met JT. Mohner through a mutual friend, and
we have a mutual affinity for film, for thirty five
(04:01):
millimeter film, and so that was a big factor in
the whole process. If you're asking about the process that
we shot on celluloid, wow, yeah, so yeah, No, it's
not hard.
Speaker 1 (04:16):
No it's not it's just another no no, well no
it isn't it.
Speaker 2 (04:21):
That's one of the things because of the you know,
the convenience really of digital. This is what has given
people this misconception that film is more difficult and also
more expensive, and it really isn't. And and I think,
you know, this was a low budget movie. I mean
like I would say micro budget, and yeah, we were
able to shoot on film and we had, you know,
(04:42):
an extensive schedule. I think the biggest thing was that
we were able to plan and prepare for a good
four or five months together because it was COVID, you know,
so it was just kind of like, well, what else
are we going to do? And so we watched movies.
We had an eighty three page document that was you know,
typed out and the shot lists and you know, testing constantly,
(05:02):
and it was just like an incredible experience.
Speaker 3 (05:05):
It does shooting on actual film versus doing it digitally
make people maybe behave a little bit better or do
their lines better and be on point more.
Speaker 2 (05:14):
So that's a huge factor. I was saying last night,
the process of shooting film, when when the cameras are rolling,
you have to focus more. It's not like you're shooting
ten hours of digital footage every day. And for that specifically,
it's about looking at what you're doing because you do
(05:35):
you do you look at the scene, the actors, the
light differently, at least I do. I think that it
demands your attention in a specific way.
Speaker 1 (05:43):
One has the DP the directory of photography. I mean,
this is what you do well. So out of all
of the moving parts in this film, Yeah, okay, let
me run to a list. What does a best boy do?
I see that at the credits all the time. Yeah.
Like if I was a younger twinkie, more gay guy,
I'm an older twinkie gay guy. Now I would be
(06:06):
the best boy. It sounds like you get a lot
of action, but what do they really do?
Speaker 2 (06:09):
So a best boy works right under the gaffer?
Speaker 1 (06:13):
What's the gaffer doing?
Speaker 2 (06:16):
So a gaffer actually comes from it. It's a stagehand expression.
Where before there were cameras where you actually have a gaff,
which is a long hook where people would reach up
on stage and they would move lights with a gaff,
And so they were called gaffers, and they are the
cinematographer's right hand person. They usually are in charge of
(06:40):
the lights and sort of more on a technical side.
But but it changes from the dynamic and the relationship
with a gaffer and a cinematographer is different for everybody. Sometimes,
you know a lot of people will say, well, that
guy the gaff were actually lit that movie, you know, yeah, exactly,
But my gaffer fell out three days before the movie started.
(07:06):
So I was running around calling people, desperate, trying to
figure something out. Uh so the best boy can't be
the best placing a stepped up for one of those days.
So he was a gaffer, the second gaffer that I had.
But then Mike Vucas came in and was just not
only just an incredible talent, but also just a sounding
(07:29):
board for you know, the rigors of what making a
film can be.
Speaker 1 (07:32):
So then what's the key grip?
Speaker 2 (07:34):
So yeah, so a key grip is the guy basically.
So there's two departments really that are in the cinematography camera.
Speaker 1 (07:45):
Well, there's three.
Speaker 2 (07:45):
I mean there's the camera department, right, so there's there's
the people looking after the camera, there's the lighting folks,
and then there's the grip department, which are hanging flags
or dolly grips or there's you know, So the key
grip is the person who is the head hauncho I
guess in the grip department.
Speaker 1 (08:05):
Okay, there's a I'm kind of loosely getting to a
point here. Everything you have to do to get a
film started and underway and then released, it sounds like
an amazing task.
Speaker 2 (08:16):
Oh it's unbelievable. It really is a miracle. And anytime
a movie gets made it's insane. And for that reason,
it's you know, I go to the movies, I watch anything.
I love movies. You know, even if it's a bad film,
I have popcorn. I'm happy, you know what I mean?
Because I look at it, you feel like you always
learn something. I think it's funny.
Speaker 3 (08:33):
Though you are talking about how much goes into it,
and clearly it's a lot. It takes years, it takes
a lot of knowledge and experience, and then we watch
an hour and a half and sit on our couch
and critique.
Speaker 1 (08:42):
Yeah no, no.
Speaker 2 (08:48):
Said that there's a tomato meter.
Speaker 1 (08:55):
Are we serious? There's a what.
Speaker 3 (08:58):
Like when the Olympics pull on someone's on a balance
being more.
Speaker 2 (09:01):
I'm like, oh yeah, raging bull and there's a tomato meter.
Speaker 1 (09:06):
I think that we need. I want to get to
the film. Let's talk about strange Darling. Here's the thing
you at the beginning, you said, well, I don't want
to give too much away here because we need to
keep it close and not give any secrets away. But
give me some meat and potatoes. That's gonna get everyone
to go. Okay, beyond the beautiful photography, I'm gonna go
(09:29):
see what else is going on in the film.
Speaker 2 (09:32):
The story and the experience of the movie is like
nothing you will experience. And in a sea of people
buying it by the yard, as they say in streaming
and all, this is something very unique and special.
Speaker 3 (09:46):
I read a couple of things about it that you
haven't said. But as far as the tomato system goes
that you're not a fan of, I read that you
guys got one hundred percent on Rotten Tomatoes, which is incredible.
Speaker 1 (09:57):
Well, you're sitting amazing tomatoes.
Speaker 3 (10:04):
But also that Stephen King was praising the movie.
Speaker 1 (10:07):
Yeah, that's gotta feel great. You get your film or whatever.
Speaker 2 (10:10):
Just Stephen King, well, somebody sent him a link and
he watched it, and yeah, I guess he tweeted it.
Speaker 1 (10:16):
When you go to call, your first thought was I.
Speaker 2 (10:19):
Couldn't believe it. I texted the director. I was like,
I think you made it? Like what else is there?
Speaker 1 (10:24):
After that?
Speaker 2 (10:25):
Wow?
Speaker 1 (10:26):
What else?
Speaker 2 (10:26):
Did?
Speaker 1 (10:26):
What else? Has he not said.
Speaker 3 (10:29):
I mean, I still I'm very interested in what a
producer actually is because it seems like that such a
broad spectrum. Sometimes I know it's just a name, I
know it. Well, Okay, so I've been watching Entourage, which
you're also in, because you're in everything, and you know
it's amazing. I'm like, I've seen him everywhere. He does
so much. But in Entourage they often allude to, if
you do this, we'll give you a producer credit, and
(10:49):
that's in my head. What producers do is that, you know,
they buttered someone up and they got this title.
Speaker 1 (10:55):
Yeah you can.
Speaker 2 (10:56):
Yeah, there is that version of a producer where you
can butter someone up and they're not like they don't know.
Speaker 1 (11:00):
What they're exactly like.
Speaker 2 (11:04):
You is a sharp guy, not doing anything, sitting over there.
He even changed chairs and the microph he did.
Speaker 1 (11:13):
But what you did. Giovanni even said that you were
out scouting locations on your own. That seems like a
producer's type.
Speaker 2 (11:19):
Yeah, I mean, you know you'd scout a location for
me at least, you know, I like to understand what's happening,
especially if it's an exterior location. But also, you know,
I think it's just like pre lighting and doing all that.
There's a lot that goes into prepping a location that
for you know, for for photographing.
Speaker 1 (11:34):
I consider and talk to you for hours. My gosh,
I mean, because I was just saying in the bottom line,
and everyone knows that we have a guest come in.
They come in because they want to talk about their
film Strange Darling and get people to go see it.
I get that, Yeah, but there's so much more to
you that I want to talk to you about. It's
just what a fascinating life you're living and to be
able to share that with us is a gift for us.
And I think you'll thank you. Thank you so much. Yeah,
(11:57):
thank you for having me the favorite role you ever
as an actor. To pardon.
Speaker 2 (12:04):
Specifically, I guess it would be more of a compartmentalization
of having worked in the in the nineties was, in
retrospect such a joy and the early aughts, I guess
people say because it was less cell phone, less social
networking and really about opening books and researching. And I'm
(12:27):
thinking about saving Private Ryan and the group of people
that were on that and I remember the you know,
we had a boot camp experience for that for two
or two and a half weeks. Wow, that was yeah,
unheard of today, Like I don't know if people would
do that.
Speaker 3 (12:45):
I heard something about that.
Speaker 1 (12:46):
Yeah.
Speaker 3 (12:46):
Is it true that they put all of you, the
soldiers who were going to rescue Private Ryan through the
boot camp and they didn't make him do it, so
that there was a little bit of, h we're going
to get this guy.
Speaker 1 (12:55):
Yeah, there was a little bit of that. Yeah.
Speaker 2 (12:57):
So Matt wasn't there, but Tom Hanks was there. I mean,
the whole cast was there, and it was it was incredible.
I mean we were sleeping in mud for two weeks
in rain and I remember, you know, your fingers are bleeding.
We were eating what looked like wet cat food and
they had salt peter in it. So you oh, I
(13:20):
won't go into what that does.
Speaker 1 (13:24):
It's I guess we had.
Speaker 2 (13:27):
To call him Captain Dale Die, but he was actually
a colonel from what I learned later, was the smartest,
most articulate, could run further faster. It was just unbelievable
and put us through something that where we had a
sense of accomplishment. It was more than just a movie
(13:49):
in that way. Maybe that's around today. If if it is,
I mean, point me in the direction, you know.
Speaker 1 (13:55):
Wow. Well, congratulations ahead of time on strange Darling. Oh,
thank you, even Tree just to the point where I
kind of wonder what it's about.
Speaker 2 (14:02):
Yeah, I'm serious, it's good. It's you know, it's crazy. Really,
I mean, we wanted to make a movie. It was
an eighty three page script. It was four characters. We
you know, what are we going to do with that?
We our aspiration was essentially to not end up in
the iTunes graveyard, right, And then Jaz really did something specially.
(14:23):
He's such a special talent with this and and it
grabs you. People are talking to the screen, it's like this,
you know, and so you know, I'm not saying that
for me, I'm saying that for him and this emerging
filmmaker who broke through. It's just it's great to see.
Speaker 1 (14:38):
And yeah, excellent. Well, congratulations again on everything that brought
you to this point and where you're going next. Thank you,
excellent Giovanni Rubisi. Thank you for having whoa whoa
Speaker 2 (14:49):
Whoa whoa wo
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