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Singer discusses crafting the perfect mystery for ‘Reptile’ with star and co-writer Benicio Del Toro, casting Justin Timberlake, and more.
The Big Picture Ahead of its world premiere at TIFF, feature debut filmmaker Grant Singer spoke with Collider’s Steve Weintraub about crafting the perfect mystery in his star-studded neo-noir, Reptile. The film is led by Oscar-winner Benicio Del Toro and is rounded out by an A-list supporting cast, including Justin Timberlake, Alicia Silverstone, and Domenick Lombardozzi, that weave a tangled web of suspicion around a vicious homicide.
GRANT SINGER: Damn, that's a good question. Let me think about that for a second, I want to give you an honest answer. Maybe “Call Out My Name” by The Weeknd. I like that video. It's a bigger video that I've done, but people know “The Hills” and “Can't Feel My Face” and “Starboy,” and all that stuff, but I really like “Call Out My Name” because I feel like it's got atmosphere and it has direction in it that I like. So, I like that video.
A lot of films have been made about killers, a lot of films have been made in this genre; before you started shooting, did you watch any films to show yourself, “This is the right way to do it,” or films that you're like, “Oh, I’ve got to avoid these things?” SINGER: Ever since I went to film school, I wanted to make movies, and I think I was thinking about different ideas. In 2018, Ben and I wrote this script together, and it was something that felt right, you know? It felt like it was also the right timing for me to sort of transition from music videos to film. It all just felt like the stars aligned with the script.
If you don't mind, can you give an example or two of what he brought to the script that really helped the script? I like the fact that we were both around the same age, and we both kind of have this, I don't wanna say chips on our shoulder, but we both still have a lot to prove, right? Obviously, he's done incredible work, but I know that he still feels like the best is in front of him, and I certainly feel that way too. So it was really nice making something that we both feel passionate about, that we both really truly wanted to be excellent.
SINGER: I'd say it's a mix. I remember before I made the movie, I wanted to construct every beat, every shot, of the whole movie. Then Mike and I got through the first week, and we're like, “Fuck that.
One of my favorite scenes in the movie is when Justin Timberlake is showing Benicio the house later, and the camera pushes in as Justin says, “I've never shown a house at gunpoint before.” He goes, “Oh, you're not afraid of guns, are you?” And then we slowly find them. It's like cat and mouse. It's all completely composed.
SINGER: I think when Alicia arrived on set and we started all hanging out and rehearsing, I was like, “Oh wow, this is really good.” You can tell from a rehearsal if something feels alive. That's the word I like to use, like, does a scene feel alive? I can't remember the first scene we shot with them, but I remember when we shot that first scene, I was like, “Oh my god, she's brilliant.” And the two of them – he's so comfortable with her, she's comfortable with them.
SINGER: So, in the edit, I'm constantly trying to deceive the viewer. One of the goals of the movie was to evoke the feeling of being deceived but also have the characters themselves be deceived throughout the movie, right? So there's this sort of multifaceted sense of deception.
SINGER: I think it’s because of my taste. I'm obsessed with sharpness. I love sharp cuts. I'm very rhythmic as a filmmaker, I think because I have a music background. I actually studied music back in the day. I thought I was maybe going to become a film composer at one point in my life.
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