#david gropman

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Ripley (Steven Zaillian, 2024).

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panavisionofficial

“Yeah, I can't remember what we shot with. I have to call Erik Brown. He's my lifeline,” jokes legendary #DOP Robert Elswit ASC, as we sat down to discuss Ripley.

“I've worked with [director] Steven [Zaillian] before, and like all cinematographers, he believes that the way something's lit is actually a way to affect people's emotions. There are a lot of directors who actually don't believe that, but Steven is one of those who feels very strongly that there's an emotional message that the lighting in a movie delivers.

I had a copy of the Patricia Highsmith series of the latest series of Ripley books with these beautiful covers and black and white images, and Steven said that as he was writing, he just saw the whole thing in monochrome. As we got more into it, and as I read the script, I realized that a big part of the agenda of the backstory is Caravaggio. Steven and I would talk about how Caravaggio invented the whole idea of how the light is playing an emotional, dramatic purpose in his paintings. What was lighting the people and the objects in the room was very selectively realized— faces, arms, gestures—all almost theatrical looking. The lighting dominates the color palette. It dominates even the design in places. There are strong graphic images, but even if you look at them in black and white, which we were in the series, it's all about the light, which is actually a line that one of the characters says.

I didn’t want [lenses] that were too sharp and I think that's something that Dan [Sasaki] reacted to. He made something that was wide open but with no greasy, sharp, surveillance photography look. I don't know how [Dan Sasaki] does it, but we shot the whole series with just five lenses. Then there are the zooms that he made when we did the water scenes.

You can't make something like Ripley look like Ripley unless everybody's all in. It's the production, it’s [production designer] David Gropman, the great costume designers on the show, Gianni Casalnuovo and Maurizio Millenotti. Their sense of understanding of what tonal structure meant, and how to achieve an interesting kind of contrast of pictorial style in this series was essential."

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"I think the, the exciting thing about Tom Ripley is that he doesn't know anything. I, I think when you have these famous literary heroes, they develop a reputation like a psychopath or that he's a genius or something like that, and I think one of the things that I really appreciated; one of the things that Steve and I talked an awful lot about, was the fact that he makes so many mistakes. And so those mistakes are, you know, important. They're as important as the - the genius, you know, because that's what makes him human. You know, so you sort of have to unlearn a lot of this - the, the ideas that you have about, about the character.

I also don't think he's a natural born killer; I think he's kind of - he finds blood; he finds it kind of disgusting. It's not something he's used to, and for the majority of the audience - I'm not sure about the audience tonight - but most of us I, I would suppose have not murdered. And so we have to be - a couple of silent voices there; but, but um, but the night is young - but, you know, that we should be invited in to go: "What would I do?" and that's why I think, you know; that's why I think it's so exciting because we're invited to, to, to explore that - those dark thoughts, um, and what we might do, and that would involve a lack of expertise."

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To acknowledge all of those extraordinary people that Andrew thanked and congratulated, I'm adding the nominees from categories that don't always get attention, along with their interviews or featurettes.

Outstanding Special Visual Effects In A Single Episode

Ripley - III Sommerso

John Bowers, Visual Effects Supervisor • Jason Tsang, Visual Effects Supervisor • Joseph Servodio, Visual Effects Producer • Maricel Pagulayan, Visual Effects Producer • Christopher White, Visual Effects Supervisor • Libby Hazell, Visual Effects Producer • Francois Sugny, Visual Effects Sequence Supervisor • Gaia Bussolati, Visual Effects Supervisor • Pepe Valencia, Visualization Supervisor

Outstanding Sound Editing For A Limited Or Anthology Series, Movie Or Special

Ripley - III Sommerso

Larry Zipf, Co-Supervising Sound Editor/ Sound Designer • Michael Feuser, Co-Supervising Sound Editor • Michael McMenomy, Dialogue Editor • Lidia Tamplenizza, Supervising ADR Editor • David Forshee, Sound Effects Editor • Bill R. Dean, Sound Effects Editor • Wyatt Sprague, Sound Effects Editor • Angelo Palazzo, Sound Effects Editor • Matt Haasch, Supervising Foley Editor • Igor Nikolic, Foley Editor • Dan Evans Farkas, Music Editor • Ben Schor, Music Editor • Jay Peck, Foley Artist • Sandra Fox, Foley Artist

Outstanding Sound Mixing For A Limited Or Anthology Series Or Movie

Ripley - Vll Macabre Entertainment

Michael Barry, Re-Recording Mixer • Larry Zipf, Re-Recording Mixer • Maurizio Argentieri, Production Mixer • Michael Perfitt, Scoring Mixer

Outstanding Picture Editing For A Limited Or Anthology Series Or Movie

Ripley - III Sommerso

Joshua Raymond Lee, Editor • David O. Rogers, Editor

Outstanding Period Costumes For A Limited Or Anthology Series Or Movie

Ripley - IV La Dolce Vita

Maurizio Millenotti, Costume Designer • Gianni Casalnuovo, Costume Designer • Ernest Camilleri, Wardrobe Supervisor • Teresa D’Arienzo, Assistant Costume Designer • Francesco Morabito, Assistant Costume Design

Outstanding Production Design For A Narrative Period Or Fantasy Program (One Hour Or More)

Ripley

David Gropman, Production Designer • Karen Schulz Gropman, Art Director • Alex Santucci, Art Director • Alessandra Querzola, Set Decorator

Outstanding Cinematography For A Limited Or Anthology Series Or Movie

Ripley - V Lucio

Robert Elswit, Director of Photography

Outstanding Casting For A Limited Or Anthology Series Or Movie

Ripley

Avy Kaufman, CSA, Casting by • Francesco Vedovati, Location Casting • Barbara Giordani, Location Casting

Sources 1st image, quote

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Thank you to Eric Chu for video of the complete Ripley Q&A from the Netflix FYSEE event, Sunset Las Palmas Studios on 5/24/2024.

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Very well deserved! It's one of the most visually striking shows that I've ever seen.

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Life of Pi (Ang Lee, 2012).

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Cinematographer Robert Elswit Breaks Down 'Ripley's' Striking Black & White Cinematography

Legendary cinematographer Robert Elswit explains the process behind shooting the arresting images of Netflix's show 'Ripley' with Andrew Scott and Dakota Fanning.

I've included a behind the scenes photo that shows the Via Appia Antica lighting rig that he mentions, and one of the camera.