FYC

Gus Van Sant on Finding the Underdog in Luigi Mangione‘s Story

Gus Van Sant, a director known for​ portraying involved outsiders and oddballs in⁣ films like Drugstore‌ Cowboy and the landmark New Queer Cinema work My Own Private‌ Idaho,⁢ found a‍ compelling subject in the‌ true story of Luigi Mangione, the focus of his ⁤latest film, Dead Man’s Wire. While ⁣Van Sant has frequently explored true crime – previously with works like the tabloid satire To Die For and the Columbine-inspired Elephant (which earned the Palme d’Or⁤ at Cannes ‍in 2003) – he admits a consistent thematic pull. He believes his ⁤interest in the genre stems from “the underdog fighting his way out” of⁣ a difficult situation.

For the role of the underdog in Mangione’s story,​ Van sant chose Bill⁢ Skarsgård, having previously observed his work in⁤ It ‌and Nosferatu. The director noted skarsgård’s‍ tendency to select ‌”horror projects,” ⁤a choice Van Sant felt⁢ might have a psychological⁢ influence on the casting. Adding to the connection, van ⁣Sant‌ had previously ⁤collaborated with ⁤skarsgård’s father, stellan ⁢Skarsgård, on Good ⁣Will Hunting. ‌He was ⁢”curious to⁢ see whether ⁢there would be any similarities” in their ​working styles, recalling the ‍elder Skarsgård as “very up for almost anything​ that we were‌ wanting to do,” and “very adventurous.” He found⁣ Bill Skarsgård equally adaptable, and appreciated ⁢his ability to inject humor “to cut the‌ tension.”

Central to Dead Man’s Wire is the evolving relationship‍ between Mangione and his hostage, a connection visually represented ‍by their being physically‍ chained together ⁣for much ‍of ⁢the‌ film. Van ⁣Sant‍ emphasized the actors’ organic growth of this ⁢dynamic.⁢ “There wasn’t any talk literally about the common ground they were finding,but they [Skarsgård and Montgomery] were doing ⁢it on ​their own⁤ throughout the rehearsal process,” he explained. ​ He credited their experience ‍and skill with ‌naturally fostering the necessary communication between the characters.

The film’s production operated under a remarkably tight 20-day shooting schedule.Van Sant had only one day dedicated ⁢to scenes featuring Al Pacino, who portrays Mangione’s father ⁤communicating with his ⁣son while on vacation in ⁢Florida. ⁣ pacino’s experience allowed for‍ a streamlined process; frequently enough, a single take was sufficient. despite concerns from department‍ heads⁢ about the pace, Van Sant remained unfazed, stating, “I didn’t feel it, ‌really. I can go fast,” a sentiment ⁤reinforced by his experience directing the even⁢ more rushed Feud.

To capture⁤ a 1970s aesthetic within the limited timeframe, Van Sant relied on cinematographer arnaud Potier. Potier sourced period video cameras for the news footage from a rental house. Van Sant ⁢encouraged ⁤a spontaneous approach, instructing Potier to⁤ “Just grab everything really‍ fast and⁤ handhold ⁤the cameras,” and offering‌ minimal direction, preferring to observe what unfolded. He utilized multiple cameras – “at ​least three to five…rolling at all times” -⁤ not to expedite ‍shooting, but ⁢”just as a way to capture things that were going on.”

Reflecting on his four-decade career, beginning with the micro-budget Bad Night, Van Sant sees each film as a unique⁢ opportunity for ⁤experimentation. He has navigated between critically acclaimed successes ​like Good Will Hunting and Milk, ​independent projects like Gerry and Last Days,⁣ and unconventional works like⁤ his‍ shot-for-shot remake ⁣of psycho. ​ “I think every film for me ⁣is ​such a different opportunity to⁣ use things that you haven’t ​used ‍before, to ‍try things out,” he said, leaving audiences to wonder ‌what‍ new territory he will​ explore⁢ after Dead Man’s wire.