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denimbex1986 · 6 days

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'Patricia Highsmith’s 1955 novel The Talented Mr. Ripley has been made into two sterling films: 1960’s Plein soleil (Purple Noon) starring Alain Delon, and 1999’s The Talented Mr. Ripley headlined by Matt Damon, Jude Law, and Gwyneth Paltrow. Nonetheless, Netflix’s new Ripley stands head and shoulders above its predecessors (and most modern TV offerings) as an adaptation par excellence.

Over the course of its eight exhilarating episodes, all of them shot in breathtaking black-and-white by Oscar-winning cinematographer Robert Elswit (There Will Be Blood), this stellar thriller exhibits a formal precision, dexterity, and majesty that electrifies its tale of a small-time New York City grifter named Tom Ripley (a phenomenal Andrew Scott) who attempts to remake himself in Italy by slipping into the life of wealthy playboy Dickie Greenleaf (Johnny Flynn). Cunning cons and brutal murder ensue, all of them dramatized by the show with a suspenseful elegance and psychological complexity that does justice to its source material—and, in certain cases, adds new, incisive wrinkles to the oft-told tale.

Ripley is, quite simply, a small-screen masterpiece, and credit for its triumph goes, first and foremost, to writer/director Steven Zaillian. In the three decades since he won the Best Adapted Screenplay Oscar for Schindler’s List, the 71-year-old has collaborated with a who’s who of Hollywood greats, from Brian De Palma (Mission: Impossible) and Sydney Pollack (The Interpreter) to Ridley Scott (Hannibal, American Gangster, Exodus: Gods and Kings), David Fincher (The Girl with the Dragon Tattoo) and Martin Scorsese (Gangs of New York, The Irishman).

Along the way, he’s additionally penned the excellent Moneyball, helmed three of his own feature scripts (including the fantastic Searching for Bobby Fischer), and spearheaded HBO’s acclaimed The Night Of. Even with such a formidable résumé, however, Zaillian’s latest may be his finest achievement to date. Its scintillating style wholly wedded to its storytelling, and its meticulousness central to its simmering undercurrent of sociopathic madness, it’s a work of controlled Machiavellian malevolence, rife with tension and rich in detail and depth.

Guided by Zaillian’s virtuosic hand, Ripley is the rare example of genuine auteurist television, even as it simultaneously stands as a testament to the fact that projects are more likely to be great when they’re made by a collection of great artists. Now available on the streaming platform, it’s an early contender for end-of-year accolades. Consequently, we were elated to speak with Zaillian about the challenges of making his sensational series, collaborating with Scott and Elswit, and the enduring appeal of Highsmith’s famous novel.

Ripley is better directed than 99 percent of modern television, to a great degree because it’s been actually directed, with personality, flair, and guiding motifs and techniques. Was there any pushback to your approach, given that TV generally wants formal style to take a backseat to storytelling?

No, there was no pushback. The style that the show became… I started with the writing, I can’t write anything without imagining it. That being said, things obviously change when you’re shooting, and motifs come up and the style gets set at a certain point. But the whole time we were shooting, basically all anybody is seeing are dailies. It’s hard to tell from dailies what’s going on, you know [laughs]? Most people at the studios didn’t see anything until it was edited. So I had this great freedom to do what I wanted in terms of its look, and I spent a lot of time doing it. It was important to me that it looked good and felt good in terms of its tone, and most of the people who came to this come from film, and we approached it as one long movie.

Is the writing process different when you’re writing for yourself, versus another director?

I don’t write any differently. As I mentioned, I can’t write it without seeing it, so whether I’m writing for myself or someone else, it’s the same process. I don’t ever put in, close-up here or wide shot there. However, I do see it, so when I’m making my shot lists, I’ve already done it once before when I was writing it. But in terms of writing in a different way if someone else is going to direct it, no.

What made you want to tackle The Talented Mr. Ripley, which has been adapted multiple times before?

I’ve been wanting to do it since I read it, which I think was probably back in the ’80s. Certainly after Purple Noon but before The Talented Mr. Ripley movies. I saw it in a certain way and I wanted to try that, so when this opportunity came up, I took it. I just think it’s one of the great characters and one of the great stories that can be told over and over again.

What is it about the novel that’s allowed it to endure so powerfully over the past 70 years? Despite its age, it feels extremely relevant in today’s socio-political climate.

The idea of a character who becomes somebody else is something that happens all the time, today and throughout history. We’re strangely fascinated with it. I mean, it comes up all the time! There are articles—one that comes to mind from a few months ago was called “The Talented Mr. Santos.” I think this particular character is fascinating, certainly to me and I hope to other people. And the style of it—and I don’t mean the photographic style, but the style of the story—comes from Highsmith, where she finds these kinds of extraordinary things happening in normal circumstances with normal people. It’s something she’s well known for, and is something which I feel we can all relate to.

You’ve directed three feature films, but none since 2006. As a director, what compelled you to segue to television?

It’s the way things go. It’s strange to say that it’s easier to get a television show done than a movie, but it seems to be true, at least with the kinds of movies that I want to make. [TV] is a lot harder and it takes a lot longer, and I long for the days and the chance to make a movie again. I’m hoping that that’s what I’m going to do next, only because it won’t consume years and years of my time [laughs]. I can do the same thing and not have it take four or five years.

At what point did you decide to shoot the entire series in black and white, and what was your thinking behind that creative decision?

It started with the writing; that’s how I imagined it. Why, I don’t know. Maybe because of the period. I did want it to not feel like a postcard, and Italy, if shot in bright vibrant colors in the summertime with blue skies, can feel that way. I felt that this was a more dark and sinister story, not unlike a film noir story, and so black and white seemed to be the natural choice.

Yet despite that monochromatic scheme, you didn’t lose the classical beauty and romance of Italy.

You can’t lose that in Rome—it’s impossible [laughs]. Nor did I want to. But that being said, even a familiar place to people—like, well, you don’t really see the Coliseum except when he’s driving around with a corpse in the car—I didn’t want those places to be front and center. I wanted the backstreets of Rome more than the boulevards. Naples and Palermo are both really interesting places that photograph wonderfully in black and white.

But again, part of the story does take place on the Amalfi Coast, and that’s the place that’s hard to make sinister in color. When you have the aqua blue water and the bright sun, it’s tough. Luckily, we were at least filming there in the fall, so we didn’t have the brunt of tourism or those postcard shots, which certainly helped.

Robert Elswit shot the pilot of The Night Of and the entirety of Ripley. What is it about him as a cinematographer that makes your collaboration work so well?

It’s many things. Obviously, he’s really talented. He shoots beautiful movies. And we get along really well. He’s very intrepid—he’ll do anything, and go anywhere, and work crazy hours. He’s a workhouse in that regard. This took that kind of person. We shot for 160 days in Italy, with a one week break in the middle, and that’s tough on anybody. He just loved the idea of shooting it in black and white, and he’s a master with lighting, as you can tell when you watch it. It’s a great collaboration, we have.

The series is dominated by shots of Tom at a distance, framed in long claustrophobic hallways and by constricting architecture (such as the stairs of Dickie’s home in Atrani). Was it difficult to find the locations you needed for that visual style?

That’s one of those things when you talk about motifs… yes, I wrote a scene where Tom climbs a lot of steps, but that was a place that [production designer] David Gropman and I found. We drove from Salerno to Sorrento, all the way up the coast, and this little town called Atrani that has 800 people had those stairs, and I was fascinated by them. I said to David, it looks like an M.C. Escher drawing, and I found out much later that [Escher] had actually lived there and had drawn those very stairs. So that’s where it started. Then, wherever we went, we encountered stairs, and that’s when it started becoming a motif.

You shoot Tom’s two murders (and their aftermaths) in long, methodical sequences. Why was it important to stage those in such detail?

I had a little note scribbled on a Post-it when I started this saying, “It’s easier to kill somebody than it is to get rid of the body.” I wanted to show that. Even getting rid of a body that’s laying down in a little boat is hard to get rid of. I thought, this could be an opportunity to try something that I’d like to, which is showing these things in what feels like real time, and how difficult it is. I thought it was interesting, I thought it was entertaining, and I thought it was something I’d wanted to do from the beginning. So in the scripts, in episodes three and five, those sequences are about 35 pages long.

How did you settle on Andrew Scott for Tom?

I’d only seen him in three things, and one of them, I didn’t even see him; I’d only heard him—that was in a movie called Locke in which he did not appear, but he was a voice on the telephone. He created a really interesting character with just his voice. That was the first time I saw anything he was in. Then his Moriarty [in Sherlock] and Fleabag. With those three things, I felt he could do anything. They were so different from each other that I felt, that’s Tom. He’s got the range to play Tom.

Often in Ripley, the most important aspect of a given scene is what’s taking place beneath what’s being said aloud. From a writer’s standpoint, how do you tackle such undercurrents?

That’s always been important to me in the writing—to know, what is the point of the scene? Is it a piece of dialogue, is it an action, or is it the moments between the dialogue? Often, that’s where it is for me. Like you say, someone is lying and the other person knows they’re lying, and they play this kind of game with each other—that is the point of the scene! So those moments in-between the dialogue are what’s important. I spend a lot of time with that, and the actors got that, and they’re smart and they’re good and they like doing that. So in those instances, that was what was going on.

John Malkovich makes a late, brief appearance as Reeves, which is both a sly shout-out to Ripley’s Game (which he starred in, as Tom) and a tantalizing suggestion of future seasons. Was Malkovich’s participation always part of the plan—and was his cameo designed to keep the door open for a follow-up?

Both of those things are true. I wrote to him and explained that I’d like him to consider doing this. It’s very short, it’s just a couple of days, but maybe it’s a fun idea. And he thought it was and came to Venice and did it.

Yes, I was also thinking that if there’s another season, this character appears in the next two Highsmith books about Ripley, and he’s a great character. He does not appear in The Talented Mr. Ripley book; he doesn’t appear until the second book. But yeah, if that ever happens, I hope he’ll do it. Because he’s perfect for it.'

#Steven Zaillian #Robert Elswit #Patricia Highsmith #Matt Damon #Jude Law #Gwyneth Paltrow #Ripley #The Talented Mr Ripley #Andrew Scott #Locke #Sherlock #Fleabag #John Malkovich #Reeves Minot #Ripley's Game #David Gropman #Atrani #Moriarty #Netflix

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fullhalalalchemist · 1 year

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https://neurosciencenews.com/neuroscience-pornography-brain-15354/

https://onlinelibrary.wiley.com/doi/abs/10.1002/ab.20367

https://exoduscry.com/articles/violent-porn-is-shaping-children-everywhere/

https://nbc-2.com/news/2021/01/12/heres-how-your-porn-habit-could-be-helping-human-sex-traffickers/

https://www.washingtontimes.com/news/2021/oct/26/former-porn-stars-recall-industry-abuses-struggles/

https://www.collectiveshout.org/porn_stars_speak_out

https://www.engadget.com/2016-04-21-legal-porn-sites-hiding-child-abuse.html

https://www.nytimes.com/2020/12/04/opinion/sunday/pornhub-rape-trafficking.html

https://www.abc.net.au/news/2021-06-18/pornhub-videos-lawsuit-rape-exploitation-minors/100227966

https://www.bbc.com/news/technology-58917993

https://finance.yahoo.com/news/porn-could-bigger-economic-influence-121524565.html

https://pubmed.ncbi.nlm.nih.gov/19862768/

https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3050060/

https://endsexualexploitation.org/articles/three-ways-domestic-violence-is-connected-to-pornography/

https://verilymag.com/2015/08/porn-industry-playboy-mansion-sex-trafficking-belle-knox-rashida-jones-holly-madison

https://fightthenewdrug.org/how-porn-can-promote-sexual-violence/

https://fightthenewdrug.org/can-tell-difference-metoo-stories-porn-plot-lines/

-ncose, exodus cry, ftnd, endsexualexploitation, are all far-right christian fundamentalist organizations who's goal is to eradicate all queerness and sexuality from the public sphere. they do not gaf about traffiking becaues none of their resources have ever actually gone to traffiking victims. leila mickelwait fucking post CSAM on TWITTER that she had saved on her phone. SEVERAL of these news articles take their info from them and use them as a source when they just lie and make shit up all the time about traffiking and porn. and all these news sites just repeat what they say with NO fact checking. they are not trustworthy sites and should never be used as sources on anything.

-there is NO medical consensus on porn addiction. it is not a 'real thing' and most of the time the source is some form of religious guilt, shame, depression, etc and sex is the quickest way to get endorphins. which is why porn is such a big economic influence. porn has always been one of the main drives of pushing innovation.

-linking a few studies does not prove anything. thats literally not how science works. yall need to also understand that porn is going to affect different people differently. cis men and cis male teens who already don't ever evaluate their role in society, or ever think twice about gender roles and already have their set-in-stone ideas about sex and gender are going to be affected differently. these studies never take into account the sociological aspect of these men and where they stand on sex and gender or how they interact with each other.

people are obsessed with sex and porn! they always have been! sex and sexuality is normal and desirable and yall need to stop acting like it isnt or is some huge taboo thing or that it NEVER has affected our society and shaped how we do things. people have ALWAYS been obsessed by it and it has always shaped laws and society.

#antiporn #anonymous #asks

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theboytatu · 5 months

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looking at your starter exo playlist as someone who came into this as an exo-m stan back in the day, i'm curious if newer fans listen to the chinese versions at all? or even realise that m was a whole other unit? (also going to plug m's exodus since it doesn't have kris and since luhan was out too, to cover vocals baekhyun is on beautiful and kyungsoo is on what if, answer, playboy, lady luck and tender love)

i know what exo-m is

#asks

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everybodysaycbx · 1 year

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#all the songs fit perfectly so no repackage songs but put in the tags if you think its actually one of those ig #i hope yall feel pain when you see this huebxhsjdhshaqkqhqhhs

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fff777 · 9 months

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I just learned about the Save One, Drop One game so I'm going to try it out! Here's the video for the Exo edition.

I made some choices I did not expect I would make. I actually think the toughest decisions are between two songs I don't care for lol. The only time I really struggled between two songs I really liked was #60 .

Cream Soda vs. Lotto

Artificial Love vs. The Eve

Private Party vs. Ooh La La La

Butterfly Effect vs. White Noise

Candy (Baekhyun) vs. Bambi (Baekhyun)

Love Shot vs. Tempo

Hurt vs. Baby Don't Cry

Paradise vs. Touch It

Blooming Days (CBX) vs. Hey Mama! (CBX)

One and Only vs. What If..

Monster vs. Obsession

Oasis vs. Runaway

Trauma vs. CInderella

She's Dreaming vs. Fall

Jekyll vs. Going Crazy

Rover (Kai) vs. Mmmh (Kai)

Black Pearl vs. Machine

Unfair vs. The First Snow

Forever vs. Sign

Stronger vs. Lights Out

Call Me Baby vs. Love Me Right

Hear Me Out vs. Boomerang

Gravity vs. Baby You Are

El Dorado vs. Diamond

Promise vs. Cosmic Railway

Mama vs. History

Trouble vs. Damage

Chill vs. Cloud 9

Beautiful vs. Baby

Rose (D.O.) vs. Beautiful Goodbye (Chen)

Electric Kiss vs. Coming Over

Love Fool vs. Tender Love

Can't Bring Me Down vs. Transformer

Been Through vs. Let Me In

Non Stop vs. Heaven

What a Life (SC) vs. 1 Billion Views (SC)

Ya Ya Ya vs. Regret It

Smile on my face vs. Walk on memories

Power vs. Don't Fight the Feeling

Exodus vs. Lady Luck

Stay vs. With You

Ko Ko Bop vs. Growl

Love Again (Baekhyun) vs. Cry For Love (Baekhyun)

24/7 vs. Sweet Lies

Universe vs. Sing For You

Brand New (Xiumin) vs. Hurdle (Suho)

No Makeup vs. Groove

Playboy vs. Thunder

Bad Dream vs. They Never Know

Lightsaber vs. Overdose

Beautiful (Baekhyun) vs. Stay With Me (Chanyeol, Punch)

What U Do? vs. Another Day

For Life vs. Miracles in December

Ka-Ching! (CBX) vs. Horololo (CBX)

Don't Go vs. Lucky

Monodrama (Lay) vs. Curtain (Suho)

Lovin' You Mo vs. Into My World

Peaches (Kai) vs. UN Village (Baekhyun)

Lucky One vs. Dancing King (feat. Yoo Jaesuk)

Just as Usual vs. Day After Day

We Young (SC) vs. Young (Baekhyun, Loco)

#answering stuff #exo

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digitalwinter · 2 years

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exo!

do i already stan them? yes | only for the music | attempting to | no

my bias + bias wrecker: xiumin! maybe kyungsoo or baekhyun 🤨 and jongin but he's on timeout for a bit

first time i heard of them: probably 2015 💀

when i became a fan: 2017 during the war era!!

favorite (and least favorite) title track: favorite: lucky one and overdose.. maybe lotto. least fav: power and dont fight the feeling 😭 sorry

favorite (and least favorite) b-side: favorite: hurt, touch it and playboy (for reasons). least fav: let out the beast and peter pan 🫣

favorite (and least favorite) mv: favorite: love shot, dmumt and lucky one. least fav: power and wolf 😵‍💫

favorite (and least favorite) album: favorite: exodus 🫶🏻 least fav: i dont .. enjoy any of their winter albums sorry

a concept i wished they’d try: whatever love shot was but sluttier

what i like most about them: theyre super talented 👁️👁️ AND FUNNY theyre so funny i always giggle seeing them on variety shows

#fun fact xiumin has been one of my ults since 2017 and he has never moved from there #💌#anon #tysm!!

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10verboy · 2 years

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actually exodus is just a really good album sorry. sorry. call me baby, exodus, el Dorado, playboy, lady luck ALLLLL on the same ep. holy shit

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zoroslibrary · 11 days

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it really makes me wonder if they're gonna release an album as great as Exodus was. Don't get me wrong, Exist was fine and all but it wasn't their best one...

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exosongtournament · 2 months

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And that was the end of round 2!

Our WINNERS are:

Tender Love Oasis The First Snow Tempo Artificial Love Love Me Right Let Me In Gravity Lotto Lucky One Growl Universe What is Love Obsession What If.. Heart Attack Mama Overdose El Dorado Monster Baby, Don’t Cry Electric Kiss Been Through Call me Baby Trouble Sweet Lies Black Pearl The Eve Wolf Going Crazy Playboy

The LOSERS are:

Twenty Four Sign She’s Dreaming Transformer History Coming Over Fall Hear Me Out Ko Ko Bop Miracles in December My Turn to Cry XOXO Regret It Ya Ya Ya Sing For You Jekyll Ooh La La La Bad Dream Forever Boomerang Don’t fight the feeling TACTIX Lovin’ You Mo’ Damage Dancing King Thunder For Life Private Party Paradise Cloud 9 Lightsaber

Some stats:

Our eliminated albums are:

For Life

Albums still in the running:

Exist, Countdown, Miracles in December and Overdose are barely scraping by with 1 entry each!

Mama, Obsession and the Universe with 2 entries!

The War and Don't Mess Up My Tempo with 3 entries!

Ex'act with 4 entries!

XOXO with 5 entries!

And in the lead is Exodus with an impressive 6 entries!

The top three biggest winners:

3rd place goes to Electric Kiss against Tactix with 83.1 % of the votes!

2nd place goes to Been Through against Lovin' You Mo' with 85.7% of the votes!

And our number 1 iiiis *drumroll*

Love Me Right against Coming Over with an impressing 88.2% of the votes!!

Our closest races were:

In 3rd place we have Oasis just barely winning over Sign with 53.1% of the votes!

In 2nd place we have Sweet Lies crawling over the finish line against Thunder with a measly 52.6% of the votes!

and our SMALLEST winner iiiis *drumroll*

The one and only, memeable, ever-loathed and loved WOLF with ONLY 51.5% of the votes against Paradise!

Im setting up the next queue now!

#forgive any spelling mistaks im tipsy as hell #had a limoncello spritz or two #exo song tournament

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duckydae · 8 months

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i on a biblical level need to hear jay cover more exo songs, especially love fool, regret it or my lady.

or honestly, english love affair by five seconds of summer.

also, can you imagine a seunghwan, jay, hwanhee, jongwoo, kamden covering a song from exodus? like exodus or playboy?

#jay chang #exo #5sos #lee seunghwan #lee hwanhee #yoon jongwoo #na kamden #kim jiwoong

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thearistocratsblog · 9 months

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Alien Web 2

An alien browses the web with you and requests one of the following items. Don't worry about the cost of the item. Which object would make you most nervous if the alien requested it? Which object would make you happiest if the alien requested it?

1. Heavy 14 carat gold ring with seven diamonds clustered in the front. The ring once belonged to Elvis. 2. 21 volume VHS Little Rascals video set including 84 episodes of the Gang at their funniest. 3. Vintage mortuary embalming fluid bottle reused and relabeled for Brooks floor wax from early 1900s 4. Adler's 1987 edition of Physiology of the Eye edited by Robert Moses and William Hart. This book is its eighth edition, with 712 illustrations with over 650 pages of information. 5. Mid-1800s English Victorian butterfly and insect collection. Specimens mounted with pins in an attractive arrangement. 6. Three pieces of sheet music: the title theme of the 1960 movie "Exodus," "Somewhere over the Rainbow" sung by Judy Garland in the Wizard of Oz, and "Puff the Magic Dragon" by Peter, Paul and Mary 7. A complete set of Playboy magazines from the year 2002.

CommentsDavid Jones : I don't think any of them would be any different. None of them really give me any indication that the alien would want to harm me except for perhaps the eye book, but even then I would just think he was curious for knowledge. I wouldn't have any paranoid thoughts about it unless somebody posed a question like this to me about it. I guess if push comes to shove, something about dead moths does make me feel uncomfortable. I'd hate to have to bring number 5 into the house.

> Which object would make you happiest if the alien > requested it?

I don't really have any reason to think I would get to keep any of this stuff so I don't see that it matters, except for number 5 (see above). Davy

Wellyn: For my alien friend, I would practically gift-wrap the Little Rascals collection (though if it came in DVDs, so much the better). Not only would that indicate a shared sense of humor between us (upon which we might build loftier things), but where else are you going to get such a nifty crash course in human psychology, sociology, anthropology, or history (remember how old this stuff is)? Four years of cognitive theory (as important as that may be to us) won't teach an outworlder what fifteen minutes of the He-Man Woman-Hater's club might about social dynamics among higher primates. On the flip side, I'd be most loathe to click "Submit Order" for the bug collection because (a) as in the Photoshop case above, if the alien needs a static (i.e. nonliving) specimen of a living being, (s)he could either (a) zap his/her own bugs, or (b) conjure up virtual models. The antiquity of the specimens offered would only matter to him/her as a specimen of human history (or as a quaint example of our need to be surrounded by history).

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