In the Frame: Jon Gries

What are you working on currently?

Jon Gries: ‘I just finished working on a sweet film in the UK that is like an old, feel-good story. I grew up watching and loving British television and films, so working on a project over there has been a dream of mine. The film was mostly shot in the countryside near Windsor Castle, and I got to live in the manor house that doubled as the set. A few other crewmates lived there as well, and it was extremely memorable. I’m also currently shooting a small film about Johnny Cash — that is an incredible story.’

What ritual or routine keeps you going?

JG: ‘Waking up most days with a song in my head and getting it down on paper the best I can. Sometimes it’s music and sometimes just words, but once the idea is formulated enough, I go into my studio and put it down as a sketch before really recording it. Music has been a rich part of my life since early childhood. My grandfather was a jazz musician, and my brothers, uncles and cousins were all musicians as well, so it resonates deeply with me.’

What work of art made you see things differently?

JG: ‘As a photographer, Gjon Mili showed me that beyond natural light there is an augmented light that can appear just as natural. His use of shape and shadow speaks to something in me that draws me in. The hard angles, stark contrasts and negative space in his work inspired me to experiment with black and white film at an early age. Most lessons in photography focus on maximising light, but his work emphasises darkness instead, drawing my attention to a different kind of detail and prompting me to explore other artists who used this style.’

Which artist or designer from history do you wish you knew more about?

JG: ‘I will shift the question to whom I wish I could sit and have a conversation with, and that is the painter and photographer Saul Leiter. His vision was outside the accepted norm at the time and considered unconventional, but he created images that were so powerful. The directors Edward Dmytryk and John Huston would also be at the top of my list.’

What are you reading currently?

JG: ‘I’m reading Keith McNally’s memoir I Regret Almost Everything. In my early years as a busboy in New York City I had the pleasure of working under Keith when he was an assistant manager at One Fifth Avenue. I was living out of a suitcase, bussing at One Fifth and studying theatre with Stella Adler. When I was down on my luck Keith was kind enough to invite me to live with him and his brother Brian in Spanish Harlem. I spent one day at their apartment before I found out that my father had died. I was only 19 years old and left New York to go back to Los Angeles for a while and be with my brothers. I have not seen Keith since, though I hope to meet him again one day. It's fascinating to read his book and not only see the trajectory of his life but also step back into that poignant time in my life when our paths crossed — I remember it vividly.’ 

What artists or designers are you excited about right now?

JG: ‘It’s nothing new, but I was lucky enough to spend time with the Mark Rothko paintings back in their room at the Tate Modern in London this summer. It had been many years since I’d seen those works. I brought a young cast member with me, a new actor, who was not familiar with the artist. It was a privilege to see those pieces with someone encountering them for the first time. We sat in that room for an hour, and he kept saying to me “Why am I so moved?” To me, that is the essence of an artistic experience.’

Do you see any interesting parallels between cinema and art?

JG: ‘I do — sometimes it’s the filmmaker that emphasises it, and sometimes it’s the painter. Rainer Werner Fassbinder films, or anything shot by Robby Müeller, offer frames that feel like works of art; you can see the thought and visual detail in every scene. But when I prepare for a role, art has always been my first reference. Again, Stella Adler, my former teacher, comes to mind: she emphasised avoiding pedestrian ideas. If you’re going to play a king, you go to the galleries and study the portraits of kings — soak them in, because they are the most genuine records we have from those eras. To find truth in a performance, you have to understand the universality of the character.’

Your favourite view, anywhere in the world?

JG: ‘I love sitting in my bedroom in Los Angeles with a view of my backyard. There are usually a few animals out there — my cat, Alger, a few other strays and my parrot, Pablo, in his aviary. I spend so much time travelling between many beautiful places, but I love this view because it’s home.’

Most memorable art or design show you’ve seen in the past year?

JG: ‘Noah Davis at the Hammer Museum.’

Top pick at Christie’s?

JG: ‘I love this note from Jackie Robinson. As the first Black American to play in Major League Baseball, he was known for conducting himself with grace and dignity while facing immense racial prejudice, violence and ridicule. Despite the incredible odds against him, he rose above them and poured his frustration into his game. He also used moments like this — often, in fact — to educate rather than to criticise. I’m a huge baseball fan, and this note reflects one of the unwritten rules of the sport: Always show respect to your fellow players. To me, baseball is a feeling — a visceral one. Of all sports, it’s the closest to a religion in the traditional sense, where humility, sportsmanship and recognition of others are central values. There’s a shared code that binds the community together.’