Johnny Flynn was murdered within a week of stepping onto the set of Ripley.
The British actor plays Dickie Greenleaf in the eight-episode Netflix adaptation of Patricia Highsmith’s 1955 novel The Talented Mr. Ripley and while he knew the character would meet an untimely demise in the story, he wasn’t prepared for it to be within days of meeting Andrew Scott, who plays the title character.
“I was just getting to know Andrew and there he is bludgeoning me and cradling my dead body,” Flynn tells Rolling Stone. “It was a good icebreaker. So basically I got to die in the first week and then I could get on with the living bits.”
Flynn initially auditioned to play Dickie—a role made famous onscreen by Jude Law in Anthony Minghella’s 1999 film—prior the the Covid pandemic. He devised an elaborate way to shoot audition tapes in his kitchen, reading all of the parts himself rather than asking someone else for help. Creator Steven Zaillian cast Flynn while he was in the midst of doing press for Autumn de Wilde’s whimsical take on Emma — and the actor still seems perplexed by how he ended up in Italy pretending to die on a boat. “I don’t know why he cast me,” Flynn says, slightly laughing.
While Ripley exists in the shadow of the acclaimed 1999 film, the Netflix series as created, written, and directed by Zaillian, has a different approach to the story. Flynn recalls being initially concerned about the love for the film when he met with Zaillian, especially having not read the novel at the time, but was quickly put at ease.
“It’s a very different tone to the film,” Flynn says. “Which is great because it’s its own thing. In film adaptations they usually have to conflate things and create extra characters to tell part of the story that don’t work unless you have a whole novel to do so. [In the film], they wanted the characters to live together for a lot longer, which made them more interesting. But the brilliance of the book is that Dickie gets killed quite early on and then the jeopardy is that Tom is being tracked and you don’t know if he’s going to be found out. Steve wanted to do something that was true to that aspect of the book in terms of the structure of the story.”
The series, filmed on location around Italy, including in Atrani, Rome, and Capri, and in New York City, was shot entirely in film noir-style black and white. It’s intended to pay homage to the cinema of the novel’s time period, a visual choice that also sets it apart from prior onscreen versions.
“If you think about the film, it’s in the summer and everything’s in bright colors,” Flynn says. “Steve wanted us to be the only people on the beach when Tom meets Dickie and Marge.”
This specificity meant that Flynn and Scott, as well as Dakota Fanning, who plays Marge, were called into rehearse scenes sometimes several months before the actual filming would take place. At first, Flynn and Scott tapped into their theater backgrounds and used the rehearsals as an opportunity to explore their characters and to try new things in the scenes. Zaillian quickly put a stop to that.
“He was like, ‘What are you doing?’” Flynn says. “The rehearsal was literally just to figure out where he was going to put the camera. We realized quite quickly that it was not for us. He knew what he wanted to do [and] he was just trying to make a final decision about which angle to shoot from. Steve had it all in his head. And that’s what makes him great. He has the whole universe of the story in his mind before he starts doing anything else and talking to people about it.”
It was a new way of working for Flynn, who deftly balances a career in theater, film and TV, and music. Before Ripley he played George Knightley in Emma and David Bowie in Stardust, an off-kilter biopic about Bowie’s first U.S. tour in 1971. He has an extensive resume on London’s West End, including productions of Jerusalem, True West, Richard III, and Twelfth Night, as does Scott. (Flynn also recently concluded a lengthy stint as Richard Burton in Sam Mendes’ The Motive and the Cue at the Noël Coward Theatre.)
“Steve knew what he wanted, but also he trusted us,” Flynn says. “The piece is framed by the writing and the way it’s shot, and that’s the storytelling device—not a generated performance. So I think the process wouldn’t have suited a lot of actors, who might have to really feel like they’re burning up and creating something new in that moment. But I realized that I could just trust the words and be in the scene and let it be without pushing too hard.”
He adds, “That need to be crazy and spontaneous and do something new and fresh is there on sets, and most projects that I’m a part of, you see actors desperately trying to come up with something new and fresh. What I learned from this is that you can take the pressure off yourself and do something interesting and very nuanced to give the camera a chance to pick up something really deep from within your soul and the subtlety of what you’re saying if you believe the words. And there’s no better actor for that than Andrew.”
The relationship between Dickie and Tom, which is complex and fraught with an undercurrent of sexual tension, and Flynn and Scott wanted to ensure there was a “sensitivity” between the characters, just as a sensitivity existed between the two actors. Flynn describes a softness to himself and Scott—“It’s odd to be talking about myself like this,” he notes—that could be translated onscreen.
“Steve wanted a tenderness that you could believe was interpreted on Tom’s part as something romantic and some kind of soul connection, but it’s a very ambiguous one,” Flynn says. “Andrew and I always said we wanted it to feel like there’s a quiet bond that you understand and that’s not explained too much. Because you’ve got to know why they’re spending that time together. For Dickie, because of where he comes from and the schools he attended, there’s a way to do things. You don’t allow your crush on another boy to actually become anything else in the society he’s part of,” he says. “The fact that Dickie won’t budge on that means there’s only one way forward for Tom. And Tom is like a shark, always moving forward.”
A significant amount of the series’ dialogue occurs in Italian. Thanks to Zaillian’s intense attention to detail, the entire cast learned to speak the language—fluently—before production. Flynn took three to four hours of Italian lessons each week (“I’ve never had anything like it,” he says). The actor did not take painting lessons to prepare for Dickie’s artistic pursuits, which are hilariously depicted in the episodes as poorly-made Picasso knock-offs. The humor of Dickie’s paintings undercut the seriousness of the visual tone, as do many of Scott’s line readings throughout the show.
“The fact that it’s funny is surprising and I loved that,” says Flynn, who remembers him and Scott laughing when they saw the prop paintings. “It’s not billing itself as a comedy. But there’s a dark humor to the books that it reflects. There’s a cruel aspect to her writing that is also very enjoyable.”
Since filming Ripley, Flynn has stayed busy. He played a violent mobster in the 2022 film The Outfit, opposite Mark Rylance, and recently appeared in the 2023 World War II drama One Life, taking on the role of real-life hero Nicholas Winton alongside Anthony Hopkins. Between filming, he’s recorded two albums with collaborator Robert Macfarlane, including last year’s The Moon Also Rises, which marked Flynn’s sixth LP. After a much-needed break, he and Macfarlane will hit the road for a U.K. tour in May.
“I’m not trying to be busy, but it’s almost too much,” Flynn admits. “One reason why it always feels particularly intense for me is because I’ve got to juggle. I’m very protective of the right to still be a musician. It’s too hard to choose one, so it means I have to work hard to fit it all in.”
After the tour, Flynn is unsure what the future holds. He’s building a recording studio in his house with the intention of “filling it with a new sound.” He’s taken on a composing gig, which he can’t talk about yet, and he’s writing a play. Flynn, Macfarlane, and artist Dave McKean also recently signed a deal to create a graphic novel retelling the Epic of Gilgamesh, set for publication in 2027. But for now, the actor is happy to finally lay Dickie to rest.
“When a film or a TV takes a long time to come out there’s a sense of closure when it finally does,” Flynn says. “Now, my slate is clear and there’s a nice amount of clarity around that. I can’t believe my luck to be pulled in all of these interesting directions and different experiences and different collaborations.”
