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Speaker 1: Down the street in New York City. You see Giovanni

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Speaker 1: Ribisi walk by, what's the first thing you screamed? So

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Speaker 1: let me ask Giovanni Ribisi when you're walking down the

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Speaker 1: street in New York City. All the roles you've been

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Speaker 1: playing in all these years, which one resonates the most

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Speaker 1: to New Yorker.

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Speaker 2: It does change from cities or wherever you are in

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Speaker 2: the world or the US, it's usually in New York

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Speaker 2: it's boiler.

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Speaker 1: Room, boiler room. So what what was your role? Remind us?

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Speaker 2: I played a guy who got mixed up in a

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Speaker 2: company that turned out to be illegitimate, a bunch of criminals,

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Speaker 2: and it was loosely based on a true story, I guess.

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Speaker 2: But really, it's amazing how many people come up to you,

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Speaker 2: to me and say I used to do.

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Speaker 1: That, especially in New York City. It's badge or something,

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Speaker 1: you know, like some of my favorite roles you've done.

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Speaker 1: I find that there's the commonality. There's douchebaggery a little bit. Wow.

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Speaker 1: I mean you tried to steal ted was the first?

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Speaker 2: Yeah, you're right, Yeah, Are you allowed to say douche bangerine?

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Speaker 1: I think so?

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Speaker 2: I mean he just did what Avatar and you're allowed

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Speaker 2: to say that too. You had to say, yeah, around

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Speaker 2: there in that area, all.

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Speaker 1: The interesting roles you have played. And then the death

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Speaker 1: scene of course in saving Private Ryan was was that douchebaggery? No,

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Speaker 1: not on your part? I killed you? Yeah, yeah, But

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Speaker 1: all these roles you've been playing, you've been tackling since

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Speaker 1: nine years old. You grew up in this business.

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Speaker 2: Yeah, I was nine years old. Well, you know, I

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Speaker 2: grew up during the blockbuster era. You know, I think

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Speaker 2: my first movie was Star Wars, and it was also

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Speaker 2: during a time when censorship and the rating system for

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Speaker 2: age groups wasn't really a thing. You know, Like my parents,

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Speaker 2: they'd go see movies and it was always you know,

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Speaker 2: it would be a musical, you go. I mean I

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Speaker 2: remember I saw Jaws probably in the theater when it

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Speaker 2: came out.

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Speaker 1: Right, I remember that too. Yeah. So, but growing up

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Speaker 1: on set, you saw things we don't see, you know,

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Speaker 1: in a theater anywhere or watching on TV. You saw

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Speaker 1: what it took to put a film together. You saw, yeah,

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Speaker 1: everything including the person standing behind a camera that's right, yeah,

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Speaker 1: trying to capture this square of activity.

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Speaker 2: Yeah, it was always this fascination, you know, I went

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Speaker 2: to school on movie sets and television sets and the

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Speaker 2: camera department where they were kind of like my schoolmates,

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Speaker 2: you know, and it was something that I really wanted

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Speaker 2: to do. I started cinematography. I think it was probably

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Speaker 2: about fifteen years ago, but I was always kind of

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Speaker 2: staying in the closet. And then I read this script

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Speaker 2: that my friend had written. J. T. Mulner, the writer

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Speaker 2: director of Strange Darlings, was coming out, and literally within

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Speaker 2: fifteen minutes I was calling him and begging him to

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Speaker 2: be a part of it.

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Speaker 1: And then he had seen my Cinematographery.

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Speaker 2: He came over to my shop, and I guess the

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Speaker 2: conversation sort of evolved and suddenly we were like making

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Speaker 2: a movie.

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Speaker 1: So many moving parts to making a movie there is

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Speaker 1: and we don't truly a miracle.

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Speaker 2: I mean, it really is incredible, and this one was

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Speaker 2: exceptional in that way.

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Speaker 1: Let's talk about it. Let's talk Let's talk about Strange Darling.

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Speaker 1: It comes out August twenty at twenty third, so I

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Speaker 1: mean we're basically almost on the eve of it coming out.

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Speaker 2: Yeah right, Yeah, it's nervous.

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Speaker 1: Yeah.

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Speaker 2: Well, so there was a screening last night, a pre screening,

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Speaker 2: so the cat is sort of already out of the back.

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Speaker 1: We can't.

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Speaker 2: It's hard to talk about because this one specifically, you

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Speaker 2: do want to go in blind, as a lot of

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Speaker 2: people are saying. But I will say, and I mean this,

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Speaker 2: it's truly like nothing you've ever seen.

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Speaker 1: Let's talk about it. Yeah, I mean all the moving

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Speaker 1: parts in creating a film as we're talking about actually

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Speaker 1: writing the film, the story itself. This story has to

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Speaker 1: do with someone going on a date and things get

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Speaker 1: very weird.

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Speaker 2: I think the log line is it's one night in

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Speaker 2: the romantic life of a serial killer or something like that. Okay,

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Speaker 2: but that really doesn't do a justice. When I read it,

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Speaker 2: I was just like, I just this is something that

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Speaker 2: I had to be a part of. And it was

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Speaker 2: also I met JT. Mohner through a mutual friend, and

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Speaker 2: we have a mutual affinity for film, for thirty five

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Speaker 2: millimeter film, and so that was a big factor in

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Speaker 2: the whole process. If you're asking about the process that

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Speaker 2: we shot on celluloid, wow, yeah, so yeah, No, it's

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Speaker 2: not hard.

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Speaker 1: No it's not it's just another no no, well no

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Speaker 1: it isn't it.

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Speaker 2: That's one of the things because of the you know,

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Speaker 2: the convenience really of digital. This is what has given

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Speaker 2: people this misconception that film is more difficult and also

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Speaker 2: more expensive, and it really isn't. And and I think,

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Speaker 2: you know, this was a low budget movie. I mean

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Speaker 2: like I would say micro budget, and yeah, we were

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Speaker 2: able to shoot on film and we had, you know,

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Speaker 2: an extensive schedule. I think the biggest thing was that

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Speaker 2: we were able to plan and prepare for a good

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Speaker 2: four or five months together because it was COVID, you know,

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Speaker 2: so it was just kind of like, well, what else

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Speaker 2: are we going to do? And so we watched movies.

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Speaker 2: We had an eighty three page document that was you know,

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Speaker 2: typed out and the shot lists and you know, testing constantly,

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Speaker 2: and it was just like an incredible experience.

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Speaker 3: It does shooting on actual film versus doing it digitally

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Speaker 3: make people maybe behave a little bit better or do

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Speaker 3: their lines better and be on point more.

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Speaker 2: So that's a huge factor. I was saying last night,

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Speaker 2: the process of shooting film, when when the cameras are rolling,

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Speaker 2: you have to focus more. It's not like you're shooting

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Speaker 2: ten hours of digital footage every day. And for that specifically,

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Speaker 2: it's about looking at what you're doing because you do

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Speaker 2: you do you look at the scene, the actors, the

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Speaker 2: light differently, at least I do. I think that it

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Speaker 2: demands your attention in a specific way.

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Speaker 1: One has the DP the directory of photography. I mean,

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Speaker 1: this is what you do well. So out of all

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Speaker 1: of the moving parts in this film, Yeah, okay, let

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Speaker 1: me run to a list. What does a best boy do?

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Speaker 1: I see that at the credits all the time. Yeah.

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Speaker 1: Like if I was a younger twinkie, more gay guy,

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Speaker 1: I'm an older twinkie gay guy. Now I would be

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Speaker 1: the best boy. It sounds like you get a lot

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Speaker 1: of action, but what do they really do?

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Speaker 2: So a best boy works right under the gaffer?

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Speaker 1: What's the gaffer doing?

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Speaker 2: So a gaffer actually comes from it. It's a stagehand expression.

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Speaker 2: Where before there were cameras where you actually have a gaff,

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Speaker 2: which is a long hook where people would reach up

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Speaker 2: on stage and they would move lights with a gaff,

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Speaker 2: And so they were called gaffers, and they are the

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Speaker 2: cinematographer's right hand person. They usually are in charge of

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Speaker 2: the lights and sort of more on a technical side.

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Speaker 2: But but it changes from the dynamic and the relationship

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Speaker 2: with a gaffer and a cinematographer is different for everybody. Sometimes,

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Speaker 2: you know a lot of people will say, well, that

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Speaker 2: guy the gaff were actually lit that movie, you know, yeah, exactly,

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Speaker 2: But my gaffer fell out three days before the movie started.

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Speaker 2: So I was running around calling people, desperate, trying to

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Speaker 2: figure something out. Uh so the best boy can't be

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Speaker 2: the best placing a stepped up for one of those days.

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Speaker 2: So he was a gaffer, the second gaffer that I had.

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Speaker 2: But then Mike Vucas came in and was just not

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Speaker 2: only just an incredible talent, but also just a sounding

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Speaker 2: board for you know, the rigors of what making a

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Speaker 2: film can be.

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Speaker 1: So then what's the key grip?

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Speaker 2: So yeah, so a key grip is the guy basically.

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Speaker 2: So there's two departments really that are in the cinematography camera.

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Speaker 1: Well, there's three.

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Speaker 2: I mean there's the camera department, right, so there's there's

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Speaker 2: the people looking after the camera, there's the lighting folks,

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Speaker 2: and then there's the grip department, which are hanging flags

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Speaker 2: or dolly grips or there's you know, So the key

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Speaker 2: grip is the person who is the head hauncho I

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Speaker 2: guess in the grip department.

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Speaker 1: Okay, there's a I'm kind of loosely getting to a

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Speaker 1: point here. Everything you have to do to get a

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Speaker 1: film started and underway and then released, it sounds like

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Speaker 1: an amazing task.

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Speaker 2: Oh it's unbelievable. It really is a miracle. And anytime

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Speaker 2: a movie gets made it's insane. And for that reason,

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Speaker 2: it's you know, I go to the movies, I watch anything.

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Speaker 2: I love movies. You know, even if it's a bad film,

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Speaker 2: I have popcorn. I'm happy, you know what I mean?

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Speaker 2: Because I look at it, you feel like you always

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Speaker 2: learn something. I think it's funny.

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Speaker 3: Though you are talking about how much goes into it,

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Speaker 3: and clearly it's a lot. It takes years, it takes

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Speaker 3: a lot of knowledge and experience, and then we watch

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Speaker 3: an hour and a half and sit on our couch

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Speaker 3: and critique.

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Speaker 1: Yeah no, no.

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Speaker 2: Said that there's a tomato meter.

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Speaker 1: Are we serious? There's a what.

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Speaker 3: Like when the Olympics pull on someone's on a balance

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Speaker 3: being more.

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Speaker 2: I'm like, oh yeah, raging bull and there's a tomato meter.

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Speaker 1: I think that we need. I want to get to

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Speaker 1: the film. Let's talk about strange Darling. Here's the thing

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Speaker 1: you at the beginning, you said, well, I don't want

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Speaker 1: to give too much away here because we need to

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Speaker 1: keep it close and not give any secrets away. But

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Speaker 1: give me some meat and potatoes. That's gonna get everyone

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Speaker 1: to go. Okay, beyond the beautiful photography, I'm gonna go

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Speaker 1: see what else is going on in the film.

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Speaker 2: The story and the experience of the movie is like

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Speaker 2: nothing you will experience. And in a sea of people

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Speaker 2: buying it by the yard, as they say in streaming

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Speaker 2: and all, this is something very unique and special.

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Speaker 3: I read a couple of things about it that you

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Speaker 3: haven't said. But as far as the tomato system goes

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Speaker 3: that you're not a fan of, I read that you

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Speaker 3: guys got one hundred percent on Rotten Tomatoes, which is incredible.

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Speaker 1: Well, you're sitting amazing tomatoes.

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Speaker 3: But also that Stephen King was praising the movie.

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Speaker 1: Yeah, that's gotta feel great. You get your film or whatever.

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Speaker 2: Just Stephen King, well, somebody sent him a link and

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Speaker 2: he watched it, and yeah, I guess he tweeted it.

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Speaker 1: When you go to call, your first thought was I.

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Speaker 2: Couldn't believe it. I texted the director. I was like,

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Speaker 2: I think you made it? Like what else is there?

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Speaker 1: After that?

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Speaker 2: Wow?

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Speaker 1: What else?

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Speaker 2: Did?

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Speaker 1: What else? Has he not said.

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Speaker 3: I mean, I still I'm very interested in what a

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Speaker 3: producer actually is because it seems like that such a

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Speaker 3: broad spectrum. Sometimes I know it's just a name, I

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Speaker 3: know it. Well, Okay, so I've been watching Entourage, which

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Speaker 3: you're also in, because you're in everything, and you know

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Speaker 3: it's amazing. I'm like, I've seen him everywhere. He does

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Speaker 3: so much. But in Entourage they often allude to, if

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Speaker 3: you do this, we'll give you a producer credit, and

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Speaker 3: that's in my head. What producers do is that, you know,

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Speaker 3: they buttered someone up and they got this title.

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Speaker 1: Yeah you can.

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Speaker 2: Yeah, there is that version of a producer where you

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Speaker 2: can butter someone up and they're not like they don't know.

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Speaker 1: What they're exactly like.

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Speaker 2: You is a sharp guy, not doing anything, sitting over there.

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Speaker 2: He even changed chairs and the microph he did.

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Speaker 1: But what you did. Giovanni even said that you were

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Speaker 1: out scouting locations on your own. That seems like a

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Speaker 1: producer's type.

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Speaker 2: Yeah, I mean, you know you'd scout a location for

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Speaker 2: me at least, you know, I like to understand what's happening,

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Speaker 2: especially if it's an exterior location. But also, you know,

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Speaker 2: I think it's just like pre lighting and doing all that.

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Speaker 2: There's a lot that goes into prepping a location that

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Speaker 2: for you know, for for photographing.

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Speaker 1: I consider and talk to you for hours. My gosh,

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Speaker 1: I mean, because I was just saying in the bottom line,

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Speaker 1: and everyone knows that we have a guest come in.

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Speaker 1: They come in because they want to talk about their

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Speaker 1: film Strange Darling and get people to go see it.

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Speaker 1: I get that, Yeah, but there's so much more to

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Speaker 1: you that I want to talk to you about. It's

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Speaker 1: just what a fascinating life you're living and to be

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Speaker 1: able to share that with us is a gift for us.

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Speaker 1: And I think you'll thank you. Thank you so much. Yeah,

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Speaker 1: thank you for having me the favorite role you ever

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Speaker 1: as an actor. To pardon.

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Speaker 2: Specifically, I guess it would be more of a compartmentalization

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Speaker 2: of having worked in the in the nineties was, in

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Speaker 2: retrospect such a joy and the early aughts, I guess

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Speaker 2: people say because it was less cell phone, less social

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Speaker 2: networking and really about opening books and researching. And I'm

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Speaker 2: thinking about saving Private Ryan and the group of people

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Speaker 2: that were on that and I remember the you know,

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Speaker 2: we had a boot camp experience for that for two

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Speaker 2: or two and a half weeks. Wow, that was yeah,

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Speaker 2: unheard of today, Like I don't know if people would

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Speaker 2: do that.

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Speaker 3: I heard something about that.

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Speaker 1: Yeah.

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Speaker 3: Is it true that they put all of you, the

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Speaker 3: soldiers who were going to rescue Private Ryan through the

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Speaker 3: boot camp and they didn't make him do it, so

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Speaker 3: that there was a little bit of, h we're going

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Speaker 3: to get this guy.

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Speaker 1: Yeah, there was a little bit of that. Yeah.

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Speaker 2: So Matt wasn't there, but Tom Hanks was there. I mean,

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Speaker 2: the whole cast was there, and it was it was incredible.

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Speaker 2: I mean we were sleeping in mud for two weeks

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Speaker 2: in rain and I remember, you know, your fingers are bleeding.

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Speaker 2: We were eating what looked like wet cat food and

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Speaker 2: they had salt peter in it. So you oh, I

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Speaker 2: won't go into what that does.

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Speaker 1: It's I guess we had.

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Speaker 2: To call him Captain Dale Die, but he was actually

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Speaker 2: a colonel from what I learned later, was the smartest,

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Speaker 2: most articulate, could run further faster. It was just unbelievable

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Speaker 2: and put us through something that where we had a

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Speaker 2: sense of accomplishment. It was more than just a movie

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Speaker 2: in that way. Maybe that's around today. If if it is,

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Speaker 2: I mean, point me in the direction, you know.

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Speaker 1: Wow. Well, congratulations ahead of time on strange Darling. Oh,

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Speaker 1: thank you, even Tree just to the point where I

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Speaker 1: kind of wonder what it's about.

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Speaker 2: Yeah, I'm serious, it's good. It's you know, it's crazy. Really,

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Speaker 2: I mean, we wanted to make a movie. It was

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Speaker 2: an eighty three page script. It was four characters. We

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Speaker 2: you know, what are we going to do with that?

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Speaker 2: We our aspiration was essentially to not end up in

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Speaker 2: the iTunes graveyard, right, And then Jaz really did something specially.

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Speaker 2: He's such a special talent with this and and it

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Speaker 2: grabs you. People are talking to the screen, it's like this,

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Speaker 2: you know, and so you know, I'm not saying that

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Speaker 2: for me, I'm saying that for him and this emerging

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Speaker 2: filmmaker who broke through. It's just it's great to see.

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Speaker 1: And yeah, excellent. Well, congratulations again on everything that brought

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Speaker 1: you to this point and where you're going next. Thank you,

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Speaker 1: excellent Giovanni Rubisi. Thank you for having whoa whoa

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Speaker 2: Whoa whoa wo