Ripley Showrunner Discusses Adapting Book for Series Two Decades After Film Release
In Ripley, Netflix’s stunning eight-part adaptation of Patricia Highsmith’s classic 1955 crime novel The Talented Mr. Ripley, the approach to the material is more emotionally distant and deliberately paced than in the 1999 movie adaptation. Led by an outstanding performance by Andrew Scott, the series — nominated for 13 Emmys — was written and directed by veteran screenwriter Steven Zaillian (who won an Oscar for Schindler’s List). Zaillian sits down with THR to discuss the journey of this ambitious project to the small screen.
What inspired you to reinterpret something that had already been successfully portrayed in Hollywood?
Twenty years had passed since the 1999 movie. I felt that there was a way to explore this story in a longer format that would capture the essence of the book as I had experienced it when I first read it.
Was there a core aspect of the book that you felt was missing in the film?
It was the depth of character exploration and spending extended time with them, something that is not feasible in a two-hour movie. I was particularly intrigued by Ripley’s methodical schemes, especially the detailed sequences in the book where he deals with disposing of two bodies, which couldn’t be fully explored in a film.
The initial murder scene takes a somewhat comedic turn with several mishaps. Is this directly from the book?
It was a lengthy scene in the book, including Ripley falling out of the boat. While I wouldn’t classify it as slapstick, it was crucial to show that Ripley is not a seasoned killer and his actions are not premeditated.
You effectively convey the challenges of dealing with a dead body — its weight and the difficulties of concealing it.
Andrew did an incredible job with it, tackling the physical aspects realistically. Each time Ripley faces a setback, it forces him to reevaluate his approach, adding depth to his character.
Let’s talk about Andrew Scott. His performance is phenomenal. Did his age — 47 — play a role in the casting?
I intentionally sought someone older for the role to align with the character’s background and motivations. The age disparity between Ripley and Dickie Greenleaf emphasizes their desperation and shared failures.
The visual aesthetics are strikingly beautiful. Could you elaborate on the elaborate shooting process and the meticulous setup for these shots?
We had ample time for shooting, stretching over 170 days. This allowed us to approach the series with the precision and care typically reserved for movies. The choice to film in black and white was deliberate, evoking the era and classic films of that time.
Eliot Sumner’s portrayal of Freddie Miles brought a fresh perspective to the character. How did you discover this unique interpretation?
Casting Freddie Miles was challenging until Eliot Sumner’s audition stood out for its originality and departure from previous portrayals. I was captivated by the fresh approach Eliot brought to the character.
In the scene with the cat observing Ripley moving a body downstairs, was that a real cat?
Yes, that was a real Maine Coon cat from Rome. Despite having to replace the initial cat, the second one exuded a calm demeanor that added an element of knowingness to the scene. Credit also goes to the second unit director of photography for capturing that moment effectively.
This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.