Steven Zaillianās choice in what he chooses to write comes down to two simple questions, as he explains: āIs it interesting to me? Do I think I could do it well?ā And in the case of Netflixās āRipley,ā his eight-part adaptation of Patricia Highsmithās 1955 novel āThe Talented Mr. Ripley,ā the answer to both was yes. But Zaillian ā who often pens meaty tales of men in morally gray areas, including āGangs of New York,ā āAmerican Gangster,ā āAwakeningsā and the one that earned him an Oscar in 1994, āSchindlerās Listā ā didnāt stop with sole screenwriter credit on āRipley.ā Heās its director and an executive producer too. Zaillian spoke with The Envelope via Zoom about taking on the equally gray-area Tom Ripley in stark black-and-white ā¦ and one splash of red.
What drew you to Patricia Highsmithās books in the first place?
I gravitate to things that have a kind of timelessness to them. Even if āRipleyā does take place in 1955 or 1960 or whatever, itās a timeless story.
Timeless, though the details might not work in todayās world.
At one point, a company I was talking to said, āYeah, weād love to make it as long as you make it in the present day.ā I said, āI canāt. This story will not work with cellphones and all that stuff.ā Thatās the reason to keep it in the period. Itās a great period: pre-Beatles, pre-Italy being overrun with tourists. But weāre always going to have these kinds of people in our lives.
Anthony Minghellaās 1999 sun-splashed film āThe Talented Mr. Ripleyā is almost a diametrically opposed version from what youāre doing on Netflix. Was that intentional?
It wasnāt a conscious effort to do that. It was a conscious effort to capture what I imagined it would look like when I first read the book. I just couldnāt see this story in color, and I didnāt feel that it was a fashion show or a happy, like you said, sunny postcard look. In the book, [Highsmith] spends a good 50 pages describing his life in New York. It felt important for me to establish this guy whoās really just a petty criminal, and I had enough time to do that.
Dakota Fanning and Andrew Scott star in āRipley.ā
(Philippe Antonello / Netflix)
Itās almost a shame to spend so much time in Italy and not see it in color.
Go back to neorealist films ā theyāre in black-and-white. āLa Dolce Vitaā is black-and-white and pretty Italian. Those were the looks of Italy I had in mind.
So had you thought of shooting inā
Film? No. Iām not sure in this day and age what the point is of doing that when you can shoot digitally and have that look like film. But we were careful while shooting; no color monitors on the set. We recorded in color but never looked at it in color.
Though there is that moment when the cat walks through blood and leaves behind red marks. Why single that out?
Youāre in the editing room for a year, and youāre playing with things. I said one day, āKnow what? Maybe itād be fun to have the cat paws be the only shot thatās in color.ā Thereās no hidden meaning. I found it fun.
You directed, wrote and executive produced, which you also did in 2016ās āThe Night of.ā Whatās beneficial about having your hands in so many pies?
The biggest benefit of directing something Iāve written is, whether it turns out good or not, itās what I intended. I donāt write any differently. Iām one of those people who canāt write it unless I can see it in my mind. So Iāve kind of already seen the movie by the time Iām done writing the script. Iām lucky I can do both.
āCon men are interesting characters and make for good drama. But Tom is much more than that,ā writer-director Steven Zaillian says of Ripley, played by Andrew Scott.
(Stefano Cristiano Montesi / Netflix)
What made Andrew Scott your Ripley?
Iād only seen him in a few things ā āSherlock,ā āFleabagā and a movie called āLocke,ā where he was just a voice on the phone. He created quite a character with just his voice. I was making something where we were going to be with somebody whoās on their own a lot. He has to somehow bring the audience in and have them experience things as heās experiencing them.
Heās 47, though; the character in Highsmithās books is in his 20s. Scott isnāt playing mid-20s, right?
When I cast him, he was 41. I felt the characters should all be about the same age ā Dickie and Marge and Tom ā and around 35 felt good. If youāre 35 and youāre a trust-fund kid, I can see your parents getting pretty concerned about your future. With Tom, I felt heās this desperate con-man character, so he needed more history behind him than a 25-year-old would have.
And did you have other actors in mind?
He was the first choice. One and only.
You mentioned including a splash of color for fun. Was including John Malkovich, who played Ripley in 2003ās āRipleyās Game,ā also for fun?
He plays a character whoās not even in āThe Talented Mr. Ripley,ā and I found a use for that character in the story and wanted to ā if we ever do any more of them ā to establish this character in the first one. I told that to John, like, āCan you see that this would be fun and cool?ā And he said, āLetās do it.ā He was just delightful.
So will you make another of Highsmithās Ripley novels?
If [executives] asked me that now, the answer would be no. Will enough time go by where I recover and think about it? Yeah. And if I did it, [Malkovich] would definitely be in it. I want him in it.
What makes Tom Ripley so endlessly fascinating?
Con men are interesting characters and make for good drama. But Tom is much more than that. The total of who he is makes him such an enduring character. Heās such a complex and distinctive character. Heās one of the few characters that does bad things that we want to see anyway.