Inside this week's Variety cover story: From the Hulk to HBO, Mark Ruffalo Re-Assembles as a Producer
Not professionally, nor on a personal level. Instead he’s struggling with perhaps the most urgent aspect of the way we live now — his Wi-Fi service.” to indie hits like “The Kids Are All Right” is roughly two-thirds of the way through a lengthy Variety interview conducted via Zoom video conference. At his home in rural Sullivan County, a patch of upstate New York that lies halfway between Poughkeepsie and Scranton, Pa., the spotty connection keeps cutting him off mid-sentence.
The same is often said of Ruffalo, who has emerged as a kind of Gary Cooper for modern times. The three-time Oscar nominee brings an Everyman quality to his roles, many of which emerge from the earthy storytelling tradition of such hardscrabble poets as Clifford Odets, Arthur Miller and Kenneth Lonergan.
“It’s a completely pioneering way to finish something,” says Cianfrance. “I have my sound guy in upstate New York; we’re doing ADR and color correcting remotely, and everything is piped through the internet. I’m just thankful to have something to work on at this terrible time.” “It’s the rich soil from which our art comes,” says Ruffalo. “Whether in rebellion or response or fighting against it, it’s just a rich part of America.”
“Stella taught us that in order to be a great artist you had to understand the political culture, the aspect of the part you’re playing, and to be politically inclined and to be active,” he says. “I told him, ‘I don’t think it’s a movie, and that’s why you’ve had such a hard time getting it made,’” Ruffalo recalls. “The way to serve your material is to not smash a 1,000-page book into two hours. It needs to be a limited series, and if you’re down with this, I would love to get it put together.”
But HBO was high on the property from the beginning. Ruffalo called it a “perfect experience.” It was a challenging production because the six episodes were shot in blocks to allow Ruffalo to play the central characters of Dominick and Thomas Birdsey. Ruffalo’s experience as a member of Earth’s Mightiest Heroes helped him with the technical rigors of the process. As the Hulk, Ruffalo had spent plenty of time in front of a green screen.
Perhaps most important, Bloys observes, is that Ruffalo and Cianfrance clearly had command of the production. All of the key players involved “were genuinely talented and smart and good human beings,” he says. “There was no bad behavior, no tantrums, just everybody working together toward a common goal.”
“We got to work in a way that is the biggest creative turn-on for me,” Hahn says. “There weren’t a lot of precious discussions about words like ‘process.’ We just got down to business. That is my favorite way to work.” “I sensed he was at a crossroads,” says Lisa Cholodenko, the film’s co-writer and director. “He has this kind of masculinity that’s very particular and really special, and I just got the feeling that people weren’t writing scripts that were an obvious fit for that — for that kind of sexy, flawed, vulnerable and funny thing that he does and Hollywood doesn’t do too much of.”
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