Strange Darling cinematographer Giovanni Ribisi, pt. 2

In the second part of our interview with Strange Darling
cinematographer Giovanni Ribisi, he delves into his meticulous
approach to testing, collaboration with director JT Mollner, and
the creative muscles he uses for both acting and cinematography.
Strange Darling is a puzzle box of a movie, with seven different
chapters mixed up to tell the story. It became the actors'
playground, where they could explore the thriller's themes and
characters, translating their ideas into tangible visual elements.
Giovanni's approach to the cinematography was guided by a desire to
create a simple yet elegant aesthetic, emphasizing shape, lighting,
camera movement and composition. Together, Giovanni and JT Mollner
found the film's visual style. They tested several different film
stocks and explored various lighting setups and color palettes
using a dummy head as a stand in. “(Testing on film) doesn't need
to be expensive-you could do tests on 16 millimeter and answer
questions that you have as part of the creative process,” he says.
Giovanni also used an older ARRI Alexa digital camera for trying
out some lenses before testing them on film. Giovanni finds that
cinematography uses some of the same processes as acting:
imagination, creativity, and a willingness to take risks.
Cinematography, like acting, requires preparing and practice. “You
develop instincts to answer and solve problems and challenges,” he
says. “It becomes an instinctual thing to frame the shot, for it to
fall in line with what you prepped for. As an actor, you see it in
the outcome of your work, attention, and focus.” When comparing
acting to cinematography, Giovanni finds acting much more
difficult. “It never ends up being what you're trying to do because
it's a hard thing.You watch it the next day and you're like, oh my
God, I really got into self-expression there... So much of acting
is about humiliation, trying not to embarrass yourself. I always
find that it takes a lack of self-consciousness. If you're too
self-conscious, you just get up in your head and you can't do it.”
About eight years ago, Giovanni was invited by
cinematographer-turned director Reed Murano to be part of a panel
at CameraImage. It provided valuable opportunities to connect with
other professionals such as Sal Totino, Matty Libatique and Ellen
Kuras. He also admires Robbie Ryan's work on Poor Things and Kinds
of Kindness. Strange Darling is currently in theaters. Sponsored by
Hot Rod Cameras www.hotrodcameras.com The Cinematography Podcast
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