A job at a music studio and getting to work with Robert Downey Jr. changed the life trajectory for Dito Montiel. No stranger to a wide array of professions — a former musician and model — the author of A Guide to Recognizing Your Saints eventually filmed its movie adaptation with Downey Jr. Now his new crime comedy movie Riff Raff is playing in theaters and features a stacked cast with Jennifer Coolidge, Ed Harris, Gabrielle Union, Lewis Pullman, Pete Davidson, and Bill Murray.
“Vincent is an ex-criminal who more than anything, just wants a normal, peaceful life. He and his wife Sandy have built a loving family with their son DJ and are spending the winter break in a cabin before he goes off to college. Chaos ensues when Vincent’s disowned son Rocco, his girlfriend Marina and Vincent’s ex-wife Ruth abruptly show up to spoil the festivities with an ominous warning: the famed gangsters Leftie and Lonnie are coming for them,” says the synopsis for Dito Montiel’s movie.
Tyler Treese: Dito, you’ve had a really interesting career. Musician, model, author, director. Your book, A Guide to Recognizing Your Saints, was very successful, and you directed the movie adaptation afterwards. How was it getting that chance to direct? Was there ever any hesitancy for you as a first time filmmaker to tell your own story? Was that a struggle?
Dito Montiel: Oh, yeah. It was impossible. It wasn’t a dream of mine. My father was a typewriter mechanic from Nicaragua, and I didn’t even use the typewriter. I wrote that book in pen. And I used to work at Tower Records with a guy who put it out. And if 10 people read the original book, I would be surprised.
But I was working in a music studio, and Robert Downey Jr. was recording at it. So he’d come in and out and we kind of knew each other from running around New York. And he was like, “Oh, we should do a movie.” Me and the guy that ended up being my editor still, we both worked in a dub room there, and we would mess around with iMovie ’cause it was the free editing thing, just doing weird ideas, not imagining that we would ever get a chance to make a movie.
But then yeah, it’s like one of those incredible lucky moments. And I mean, the short version of the long crazy story is I wrote this ridiculous script. I had no freaking idea how to write a script. I never imagined to do it. I was saying before, I thought INT meant “introducing.” It turns out that it, it’s interior. And EXTI thought was exit. And turns out that the exterior.
There’s all sorts of lessons you learn along the way. And I was very lucky that some, a woman named Leslie Ang, who I have yet to meet, but I sure owe a lot to her, my crazy ridiculous script of like 150 pages. That was completely disastrous. I can imagine she found something interesting about it and gave it to Michelle Satter, who runs Sundance Labs.
They called me and said “oh, we like your script.” I had my phone number on it. Actually I had the music studio on it ’cause I whatever. And I had my real name Orlando on it. ’cause I thought it’d be embarrassing that it says Dito in the character [laughs]. I used all real names, I mean, whatever. It was insane.
And I thought when Sundance called the Labs, you know, which is great for any writer or director, actor out there, you should look into it. I didn’t know it existed. I thought it was, I heard of the festival and I was like, oh, we haven’t made a movie. And she’s like, oh no, we like your script. And I’m like, “well, how much does this cost?” And she’s like, “free.” I thought it was like a learning annex, ripoff, you know?
I said, “Oh, well, where is it?” And she’s like, “Utah.” I’m like, “Utah? Well, I’ll call you back.” And then I had the very lucky thing that Robert Downey was coming in and outta the studio, and I said to him, “Hey, I got this call from this Sundance Labs.” And he’s like, “You better call them back.”
Next thing I know, I got to be one of the people that they bring there and they do bring you for free and feed you, which I had a hard time believing. And I was mentored by Carlos Cuon, who wrote Y tu Mamá También and Frank Pearson, who wrote Dog Day Afternoon, and Walter Mosley. It’s like you’re in the Wonka of filmmaking. It’s just a ridiculous experience that sort of changed my life. Here I am [laughs]. Weird and crazy and ridiculous.
You just assembled the most stacked cast for Riff Raff. How was it getting all of these, these really great actors? Bill Murray, Ed Harris — he’s like my favorite actor. How’d you get all these great names into your film?
Yeah, it’s nuts, right? Well, Ed Harris was also an advisor of mine at Sundance, so I had his email [laughs] and so sent him a crazy email in the middle of the night because I really believed in this script. And John Pollo had written it as a play, and I thought it was pretty special, and I had messed with it a little bit.
And luckily Ed responded, which is a dream of anyone’s mind, certainly. And Jennifer Coolidge, I mean, you know it’s bananas. You know, I couldn’t have asked for better people for the roles, and a lot of people I didn’t know. I didn’t know who Lewis Pullman was. And I met him a week before filming and I just was like, “Oh, this guy’s great.”
And the young guy in it, Miles Harvey, the minute he came into just an open call and the minute that guy walked in, I was done. I adore him as an actor. So it was a really nice combination of people. We all know, of course, the great Bill Murray and Pete Davidson. It was insane. And then people that I certainly didn’t know like Miles, and I’m happy to know now. So one of those very lucky strokes of stuff.
You mentioned that it was written as a play. I can definitely see that now. Having watched the film, I never would’ve guessed it while watching though. What really grabbed you about that script and, and made you want to adapt it into a film?
An actor, PJ Ransone, who I love, he had called me about it and said, “oh, we’re good to do this play, and it’s all in a room.” And so that’s how I had met John Pollo. And so we read it and we were talking about it and the idea of bringing it outside of a room. ’cause Maybe that would get a little torturous, you know, for too long.
But it felt to me like I read like a Who’s Afraid of Virginia Woolf, but everybody was Virginia Woolf, you know? I was like, “oh, it was so exciting for me as a fan of acting, not an actor myself, but I love it.” I was thinking, “oh, it’s one of those movies that everybody that comes in gets to take over the scene for a while,” which usually is how movies are. And it’s one guy and then a supporting actress.
This was like, “oh, when, when Sandy comes in, it’s her movie, and then when DJ comes in, it’s his movie.” So I was so excited for that. So it was like, okay, how do I round up a family of Virginia Woolfs [laughs]? I think we got very lucky with that. I mean, Gabrielle Union, all these people. It was kind of a blessing, you know?
This is a true ensemble. Everybody has a juicy part. Everybody has their moments. You have such great actors – how is it, making sure that everybody got a chance to shine? Nobody’s overbearing or overly dominant throughout this film. Everybody’s sharing the screen and is very generous. How is it kinda finding that through production?
I mean, it was pretty trippy, right? I mean, you got all these people in a room together [laughs], so you don’t have a hard time making ’em shine, that’s for sure. These people shine without me there, that’s for sure.
But it was nice. You know, I think as a fan of writing and acting, you know when stuff is special. I think people respect it to some degree. Maybe not always, but I’ve been lucky in that sense, you know? And you’re in a room with seven other people that are pretty good. So you kind of do your thing.
I was just saying before, I saw an interview with Bill Murray because I’m still just a fan. And he said, “You know what? When you do a movie, you’re here to create something you hope is great. We’re all trying as hard as humanly possible, and then we’ll be friends, you know?”
I think that’s a really interesting way of looking at it. ’cause I feel that way and I love the craft of it so much, and I’m learning as I go clearly. But you can’t have a better bunch of teachers than certainly with this film, you know?
I wanted to ask you about working with Bill because he is a real highlight. It’s just so funny seeing him just casually murdering people. The scene I love is the second scene he’s in. It’s just so nonchalant with him. What made you think that he could just pull off that very cold demeanor? There’s like zero emotion, it’s just what he does. It was a really great casting choice.
Oh, thanks. Yeah, it was a last minute thing. And I remember hearing, “You’re gonna get a phone call from Bill Murray,” and I was like, “What?” You know, we’ve heard of this famous phone number, and sure enough it rang.
It’s nuts. Like I’m a fan first always, just like anybody else. I’ve seen these people my whole life and then, you know, you realize, “Oh, there’s a reason you know him for so long.” You know? Yeah, he absolutely crushed that scene. And man, what’s great is the other actor, Scott Campbell — he from my first movie. He got to recognize these saints. He’s such a great actor.
Every time I’m doing a movie, I’m thinking of him and PJ Byrne, can I possibly put them anywhere? Because they’re so great. And this movie had it. And I remember calling up Scott and saying, “Okay, you have one scene, but it’s pretty fun. And it’s across from Bill Murray and Pete Davidson.” He’s like, “I’m buying my ticket now.” So it was a nice bunch of people to be in a room together with.
I wanna ask you about Lewis Pullman, because he’s just a really electric performer. He’s just so poised for a major breakout. You said you weren’t super familiar with him. So how was it working with him? I’m sure you left very impressed.
Completely impressed. I freaking love that guy. I know this sounds corny, like a director raising freaking actors. I would hate this interview, but I really love that guy. He’s so freaking good. And you know, what was really interesting is that Rocco, even the name scares me a little because it felt like it could get a little cliche here, you know?
Originally it was written like he’s wearing a motorcycle jacket, and the first thing Lewis Pullman said to me was, “do I have to wear a motorcycle jacket?” And I’m like, “no.” And he’s like, “okay, good.” And I thought he… it’s just like you said about Bill Murray in that scene with shooting the guy. What I loved about him as an actor was I kind of like him [as the character]. You know, he’s done some maybe questionable things going along the way, but it wasn’t for me, your typical guy in a motorcycle jacket that shows up. Not that I don’t love that guy but I thought that I thought he brings a warmth to someone that could sometimes be a little more cartoonish, you know? And man, he’s gonna be a big star. And I’m glad that at least I have his number until he changes it, you know?
Later on in the film, we get everybody together, and that’s definitely where I can see the play aspect. When you saw everybody playing off each other and just that dynamic was really delivering, how was it on set having all those fun personalities really working together there?
I mean, it’s a movie we shot in 21 days, so everyone was really in that room all the time. We have one camera, so when the camera’s on one person, they’re watching the other people or playing with the others. So it was a really fun collaboration. Similar probably to a play. I’ve never directed a play, but from what I witnessed the actors really collaborated in that sense. It was like you said, we’re not here to show anyone up, we’re here to play together. And that’s, to me, the dream. I mean, I adore it. Like, there are times when I remember, and I’ve been lucky like this with a lot of great actors where I get caught in the moment. Like, “well, can we do it again? We don’t need it, but I really wanna watch it again.” <laugh>
But it was really fun that way, you know? There’s so much going on in the room, it’s bananas. But it’s kind of a nice deal when it’s seven or eight people like that? And that’s everybody in the room, all the actors that we know. And then Emanuela Postacchini, who we may not have known, or Miles or Lewis. I didn’t even know who Jennifer Coolidge was, believe it or not, before we made the movie. I’m the biggest fan on Earth now, and now I’ve caught up to finding out that oh, yeah, a lot of people know, know and love her, and I’m just one of them, you know?
That had to be fun catching up for sure. So many.
Oh, for sure. I was watching White Lotus, thinking, man, I love that show, and we had the same DP, Xavier Grobet. But I remember I was watching White Lotus, and I was thinking, “Okay, who’s Virginia Woolf these days?” Who can do that role? You know, the famous Elizabeth Taylor role, and I’m watching and I’m going, “This freaking lady’s really good.” And then my wife was like, “That’s Mrs. Stifler.” I’m like, “She’s good,” and she’s like, “Yeah, you’re the last person that doesn’t know that.” So I’m happy to know it now, personally.
We’re almost to the 20-year anniversary of A Guide to Recognizing Your Saints. That film had really strong performances by Downey Jr. and by Shia LaBeouf. 20 years later, how do you kind of reflect on that film and how it birthed this whole other avenue of directing for you?
Look, I’m like Mr. Magoo, man. I go wherever the wind blows, you know? And to me, I didn’t dream to be in this business. Doesn’t mean I don’t adore it or respect it. It’s funny, a lot of the people I grew up with, they’re like, “oh, you know, the Hollywood elite,” you know, and whatever.
That’s kind of like walking into Starbucks and yelling at the barista that it’s a billion dollar company. It’s a tricky world, but if you’re in for the fight and you love it enough… They won’t kick me out of this game. They might try and they sure have tried, but I don’t leave.
I love to write, so I kinda landed somewhere. Look, I liked the job that I had when I got here. I was working in the dub room. I was very happy. We messed around and played basketball every day. Life was pretty good. And I’ve walked dogs, I’ve unloaded trucks. I sold freaking peanuts on 42nd Street and handed out fliers. I’ll take this one a little above it, but they were all a fun path. So I’m just on it, you know? That’s my trip.
Thanks to Riff Raff director Dito Montiel for taking the time to talk about his new film. Tickets are available now.
