![]() And just like that, Simpson was bound for Tuscany. ![]() Simpson flew from Australia to Los Angeles for one dinner with Wells, producers, and select cast members, including Oh. Why don’t I come to your place for dinner on Saturday night?’ That was in two days’ time. That’s exactly what I’m thinking.’ So I said, ‘Look, I’ve got lots of frequent flyers. “My agent sent me the script and I read it and loved it and all that sort of stuff and then they wrote back and said, ‘Audrey Wells, a wonderful director, would like to have a telephone call.’ I spoke with Audrey and I said, ‘Audrey, I really get the feeling that you won’t be able to make up your mind unless you meet me in person.’ And she said, ‘Well, you’re very astute. So, what changed? “Oh, it’s quite a good story actually,” Simpson said. But they hadn’t done any location work or anything like that, scouting or anything.” Ripley’ a lot of the people that he’d worked with in Italy were from that film. Tom Sternberg was one of the producers, and he’d worked on ‘The Talented Mr. So the film was pretty well in place,” Simpson told IndieWire. “It was actually quite a long way down the track because had a cinematographer whose partner had a health issue and he had to pull out. “Under the Tuscan Sun” was originally set to be lensed by another cinematographer before Geoffrey Simpson became involved with the project. A Twist of Fate and a Surprise ‘Round-the-Globe Trip In celebration of the film’s 20th anniversary, IndieWire spoke with cinematographer Geoffrey Simpson and costume designer Nicoletta Ercole to unpack the legacy of how “Under the Tuscan Sun” became an ode to aspirational living. Producer Tom Sternberg met “Under the Tuscan Sun” author Mayes while shooting in Siena and pitched the film adaptation of her memoir in 2000. ![]() Ripley,” the beloved 1999 psychological thriller based on Patricia Highsmith’s novel. The history of how “Under the Tuscan Sun” got made in the first place has a highbrow link: The film was all due to the production of “The Talented Mr. Roger Ebert wrote for the Chicago Sun-Times that while the film was busy “seducing audiences with a shapely little villa in Italy,” its core message proved something deeper: “What redeems the film is its successful escapism, and Lane’s performance,” Ebert wrote at the time. “Under the Tuscan Sun” grossed $58.9 million on an $18 million budget, making the Touchstone Pictures film bankable proof that a rom-com with naturally gorgeous scenery very much has an audience. ‘Silver Dollar Road’ Review: Raoul Peck’s Documentary of Black Land Loss Is Too in the Weeds
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