Reptile Producers Unveil Insight into the Blockbuster Film 'Sicario 3' and Their Apple TV Series 'Havana Nocturne'

Article Summary

Reptile on Netflix is a must-watch crime thriller that has claimed the #1 spot for three weeks.

In a conversation with Molly Smith and Trent Luckinbill, the producers of Black Label Media, they delve into their approach to identifying fresh projects, the decision-making process between theatrical release and streaming, and their collaboration with Netflix. Moreover, they shed light on their decision to embark on a venture with rookie director Grant Singer, and his unique perspective for the film Reptile. Additionally, they touch upon their future endeavors, including a captivating historical thriller series for Apple TV+ and provide updates on the progress of Sicario 3.

Reptile on Netflix is a must-watch crime thriller that features Oscar-winner Benicio del Toro. This captivating film, which also marks del Toro's first-ever screenwriter credit, has claimed the top spot on Netflix's top ten for three consecutive weeks. Influenced by renowned filmmaker David Fincher, writer-director Grant Singer keeps viewers guessing until the very end. Reptile boasts an impressive cast including Justin Timberlake, Alicia Silverstone, and Michael Pitt.

In light of Reptile's streaming success, producers Molly Smith and Trent Luckinbill, who co-founded Black Label Media in 2013 alongside partner Thad Luckinbill, granted an interview with our website's Steve Weintraub. Black Label Media has played a significant role in major projects such as Sicario by Denis Villeneuve and Taylor Sheridan, the Academy Award-winning La La Land, and 12 Strong starring Chris Hemsworth. During the interview, Smith and Luckinbill delve into their approach to finding their next film or television series, the decision-making process regarding theatrical releases versus streaming, a typical day in the life of a producer, and their experience collaborating with Netflix.

In addition to their behind-the-scenes work, Smith and Luckinbill discuss their decision to take a risk on first-time film director Singer and his vision for Reptile. They also delve into their collaboration with del Toro, who helped "elevate" the original script. Furthermore, they touch on upcoming projects for Black Label Media, such as the currently titled Others Unknown, a Christopher McQuarrie film, as well as a historical thriller series called Havana Nocturne for Apple TV+. Lastly, they provide an update on the status of Sicario 3.

Reptile

A seasoned detective embarks on an intense investigation to unravel the truth behind the savage killing of a promising real estate agent. As he delves deeper into the case, he confronts startling revelations that shatter the illusions of his own existence.

Release Date: September 29, 2023

Director: Grant Singer

Cast: Benicio Del Toro, Justin Timberlake, Thad Luckinbill, Alicia Silverstone, Michael Pitt, Owen Teague

Rating: R

Runtime: 134 minutes

Main Genre: Drama

Our website: Since our last conversation about The Good Lie in 2014, I have been curious to know how the past nine years have treated you and the progress you have made in your respective fields.

MOLLY SMITH: The Good Lie was our inaugural title under the Black Label brand. Prior to that, I had a background in producing films for Alcon Entertainment. However, with the collaboration of Trent, Thad, and myself, we formulated a solid business plan and launched Black Label. The Good Lie holds a special place in our hearts, as it continues to serve as an impactful educational film. Over the years, it has been licensed for various educational conferences and school screenings, which is a testament to its enduring ability to share their powerful story. We take great pride in its ongoing contributions and impact.

In the past decade, we have been extremely busy and fortunate to have had the opportunity to collaborate with some of the top filmmakers in our industry. Recently, we have also had the privilege of working with up-and-coming talents like J.D. Dillard and Grant Singer. This highlights our selective approach to choosing directors to work with, as filmmaking involves a long-term commitment of several years in collaboration. Our experiences with renowned filmmakers such as Denis Villeneuve, Joe Kosinski, and the late Jean-Marc Vallée have truly been blessings. Despite these accomplishments, our focus has shifted towards television production in the past couple of years due to the increased demand. As producers, we adapt to the evolving distribution landscape and determine the best platform for our projects. We consider the format that will reach the widest audience and serve the story most effectively. This may involve expanding a project into a limited series if it better suits the narrative and allows for a more comprehensive storytelling experience in six episodes, as opposed to a two-hour movie. Therefore, our approach to each project has undergone slight adjustments.

TRENT LUCKINBILL: The Good Lie still remains our guiding principle, with most of our projects beginning with a captivating script that deeply resonates with us, evoking a compelling story that we are passionate about telling. This holds true even in the realm of television and other mediums, where our focus remains on nurturing talented filmmakers and embracing scripts that we simply cannot decline.

Image via Summit Entertainment

Please select a favorite project from your company. It should be a film that showcases your talent and that you are proud to present to others. Can you name one and explain why it stands out to you?

SMITH: Sicario is hard to beat because we had an extraordinary experience working with the exceptional team behind it, just like Trent mentioned earlier. Another film that holds a special place in our hearts is Only the Brave. Unfortunately, it didn't have much commercial success, so it may not have reached as many people as we would have liked. However, we are immensely proud of it. The film was a collaborative effort with outstanding individuals such as Joe Kasinski, Claudio Miranda, Josh Brolin (who we've been fortunate to work with on three occasions), Miles Teller, and an incredible cast. What made it even more significant was the way we approached the storytelling with utmost respect, considering that we depicted events that were still fresh in the memories of the families affected. It is unusual to make a movie so soon after a tragic event; usually, we are recounting stories from a decade or more in the past. The delicate nature of conveying this story and paying homage to the fallen heroes who selflessly sacrificed their lives to save their town made this production truly special. From the top to the bottom, everyone involved, including the cast and crew, approached this project with love, care, and sensitivity. Hence, we hold this film close to our hearts and are genuinely proud of it.

Image via Lionsgate

You guys have made a number of films, which of them do you think changed the most in the editing room in ways you didn't expect going in?

SMITH: That's a good question, too.

LUCKINBILL: Steve, you're really skilled at this. [Laughs]

SMITH: 12 Strong was a tremendous accomplishment in editing. It was our first venture into the action genre, and having the opportunity to collaborate with Jerry Bruckheimer, a true master in that field, was incredibly exciting for us as producers. The real joy came from working closely with Jerry in the editing room. With his extensive experience and expertise in film and television, it was a fantastic experience. While I wouldn't say there was a drastic transformation from the original script, we did have to make significant adjustments in the editing process to achieve the final product.

What might surprise people about being a producer in Hollywood?

SMITH: Your phone conversations can seamlessly transition from dealing with multimillion-dollar crises to discussing trivial matters like hair color or wig styles in just 10 minutes. It always amuses me that my day involves both problem-solving and keeping things financially in check, while also contributing creatively to matters such as wardrobe, hair and makeup, and scenes. That's what makes producing enjoyable, I believe.

LUCKINBILL: Yeah, I believe that's the breadth of matters you encounter, as she mentioned, which most people fail to grasp how deeply involved you become in the intricate procedural aspects, from the very beginning. At Black Label, we have often taken on the role of producers and worked closely with the studio, which also adds another layer of challenges when assuming the studio's responsibilities.

Image by Annamaria Ward

What Is Christopher McQuarrie's 'Others Unknown'?

For both of you, if you could get the financing to finally make something that you've been trying to make for a long time, what would you make and why?

SMITH: Great question. Trent, what are your thoughts? We've had some missed opportunities in the past due to timing and distribution challenges. However, we prefer to keep our slate small. Thankfully, most of our projects have been successful, and we still have some longstanding ones from our early days.

Trent and I were actually discussing it before this call. One of our initial projects, which the three of us collaborated on, is a remarkable venture called Others Unknown. It tells the story of Stephen Jones, the defense attorney who represented Timothy McVeigh after the Oklahoma City bombings. It's based on his book, and we've been working on it for over a decade with Chris McQuarrie and Nathan Alexander. We haven't given up on it and continue to be just as passionate about it today as we were a decade ago. It's exciting to persevere and hold onto something because we truly believe in it.

LUCKINBILL: It's rare for us to have just cleared something off our slate. We're eternal optimists over here. In this industry, there are cycles where things become popular and then fall out of favor. But for the most part, we've held onto what we own, storing it away, with plans to revive it when the time is right.

In Hollywood, or in the world of moviemaking, every producer is on the hunt for a fantastic script. The challenge lies in finding original material before others do. How do you and your team manage to secure such material before it's discovered by someone else?

LUCKINBILL: [Laughs] Yeah, that's the challenge in this industry - finding and staying ahead of the game. We extensively search for new books or untapped ideas to begin the process. By maintaining connections with previous collaborators such as directors, writers, and actors, we stay informed about their interests and passions. Additionally, our agency keeps us in the loop about upcoming projects or trends in the market. Essentially, we strive to be at the forefront, networking and staying prepared for opportunities.

SMITH: We have been fortunate to collaborate with exceptional talents throughout the years - writers, directors, and actors, as Trent mentioned. We maintain an open door policy, as they may come across something interesting or have a passion project they want to pursue. Many of our projects originate from these relationships, either through suggestions or by partnering with someone we have a strong connection with and wish to further collaborate on.

Obviously, Reptile came about because we had previously collaborated with Benicio on the Sicario movies. However, we had never approached him for any other projects. When Reptile came into the picture and we further developed it with Grant, Benicio emerged as the top choice. We reached out to him, along with Rick Yorn, Jack Whigham, and our close-knit team, and shared, "We have something truly exceptional. It's directed by a newcomer, but once you read it, you'll understand why you must meet him. He's the real deal." The rest, as they say, is history. They met Grant, fell in love with him, and recognized his vision. It was thrilling for us to reunite with Benicio on a fresh endeavor.

Image via Netflix

Benicio is being credited as a screenwriter for the first time, showing his active involvement.

SMITH: Yes, the circumstances of COVID caused a delay, but it led to organic developments. They initially met in November 2019, but everything changed in early 2020. During this time, we continued to develop the project according to Benicio's input and notes. However, it was during the lockdown that they truly dedicated themselves to writing together, resulting in an outstanding script that improved on every aspect.

The uncertainty surrounding the film's performance is one of its distinctive aspects. You, more than anyone else, are aware of this. So what is it like to have the top movie on Netflix for three weeks?

LUCKINBILL: It's absolutely fantastic. This is our first time experiencing such success with a movie of this magnitude. We have sold a few films in the past, but they were relatively smaller in scale. Therefore, to have a major release like this has far surpassed our expectations. We are extremely proud. It's evident that the global audience's overwhelming response to the film was beyond what we had anticipated.

SMITH: It's amazing to see the impact that Netflix has when a movie performs well for them. We've been receiving an overwhelming response from so many people, including Grant, Benicio, our team, and even agents. It's a testament to the wide reach that Netflix has, which is not always the case with theatrical releases. Usually, you hope people see it, but sometimes they catch it later. However, with Netflix, it's right there in everyone's home, easily accessible. It's truly impressive to witness the extensive reach of their movies.

LUCKINBILL: It's important to note that this was during the strike, so we couldn't fully promote the movie as we would have liked. We did attend some screenings in Toronto, but we didn't have the opportunity for traditional releases or the usual press coverage that comes with having Benicio, Timberlake, Alicia, and the rest of the cast leading the way.

Also, I know a lot of actors, and some of them do not enjoy the promotional process, so I think for some people, not having to promote is not the end of the world. For some.

LUCKINBILL: That's true.

SMITH: Indeed, it holds true. It truly does. The burden falls heavily on them. However, I believe Netflix possesses the audience, and not just any audience, but a pre-existing one. Consequently, it was indeed a fascinating experiment to witness the outcome unfold naturally, without any promotional efforts or word-of-mouth influence.

Image via Netflix

When a movie makes it into the top 10 on Netflix, many people, myself included, take notice and wonder what everyone else is watching. And when the number one movie features actors like Benicio, Justin, or anyone else, it becomes even more enticing for viewers to hit play.

LUCKINBILL: Yeah, I agree.

How have the past few weeks been for you? This being your first successful experience with Netflix, do you find yourself immediately scheduling another meeting with them, exploring potential future collaborations?

SMITH: No. [Laughs] Our partnership with Netflix was fantastic. Originally, we planned to make the movie independently and possibly sell it at a later festival. However, once we assembled our cast, Netflix expressed their excitement and desire to collaborate in advance. This was a new experience for us, but it turned out to be a great process. They were involved and supportive right from the beginning, even during the pre-production phase. Their enthusiasm was evident throughout, and we definitely look forward to future collaborations with them. Their platform already holds significant value, even without extensive promotion. So, we're all eager to explore what possibilities lie ahead.

As producers, we had to consider our options when Netflix expressed interest during the pre-production phase. It's a balance between choosing to sell to Netflix, ensuring guaranteed funding and everyone gets paid, or waiting to gauge the success and potential for a larger theatrical release. These discussions behind the scenes involve weighing the immediate benefits versus the long-term prospects. There are genuine conversations about what is best for the project at that particular moment.

SMITH: Indeed.

LUCKINBILL: There is genuine calculus involved in that, as you rightly mentioned. It is important to carefully consider all aspects. People have various approaches, whether they sell before or after. Additionally, the timing of the shoot in 2021 added uncertainty about when and where things would return to normal theatrically. These factors played a significant role. However, it is a routine process for us as a financing studio. We conduct thorough analysis and make the best decision possible. Of course, predicting the future is not always feasible. Sometimes, it ultimately comes down to intuition. Does this feel right at this moment? Is this partnership the right fit? Are the cast members enthusiastic about this option? All of these things must be carefully considered and evaluated.

Image via Netflix

Why They Took a Chance on Grant Singer's Vision

From the moment we met Grant, it was evident that he possessed immense talent and a deep understanding of the visual aspects of filmmaking, despite not having directed a feature film before. His passion for film and his unique visual style in music video directing shone through. During our initial meeting, Grant articulated his approach to storytelling, which further solidified our belief in his ability to bring our vision to life. While the execution of the film inevitably evolved during the production and editing processes, Grant's intelligence and unwavering clarity in his vision made it clear that he was the right person for the job.

Grant's expertise in the editing room was truly impressive. He possesses a natural talent and an incredible ear, likely stemming from his background in music videos. Observing his work on sound design, score, editing style, and cuts was an enjoyable experience because he excelled in all aspects. Our collaboration with him from the very beginning was a stroke of luck, as it was evident that he had a promising future ahead of him due to his immense talent.

In addition, we were captivated by Grant's passion and vision, which perfectly aligned with the script we loved. It is usually challenging for first-time directors to attract notable talent, but Grant proved himself capable by not only winning us over but also convincing esteemed individuals like Benicio Del Toro and Justin Timberlake to join the project. He had a clear vision of the actors he wanted to cast, a fact that shines through in the film's lack of any weak performances. This success is a testament to Grant's directorial skills, as he knew exactly what he wanted from each role, selected the ideal actors, and effectively supported and collaborated with them to achieve outstanding performances.

I have spoken to Grant twice now regarding the film. Yesterday, we conducted a lengthy interview for our daily podcast. One thing that stood out to me was how intelligently the film handles its casting. Typically, in films like Reptile, the studio would cast local actors for the supporting roles while having one big-name actor for a significant role, making it obvious who the culprit is. However, this film cleverly casts recognizable actors in the supporting roles, leaving the audience guessing. As you watch the movie, you can't determine who is guilty since all the familiar faces could potentially be the one. It's a smart move on the film's part, as it keeps the audience in suspense without giving anything away.

LUCKINBILL: That's a valid point, indeed. It doesn't reveal anything prematurely.

When you watch all these thrillers, there's always one actor who stands out, and by the second act, you can't help but think they're the culprit. LUCKINBILL: It's as if you're saying, "They have to bring him back." It has to be that person.

Image by Federico Napoli

What Is 'Havana Nocturne' on Apple TV+?

You mentioned TV projects earlier, and it's clear that TV is currently the dominant platform. One advantage of TV is the ability to delve deeper into characters and stories. So, what upcoming projects are you excited about or hoping to work on at Black Label?

LUCKINBILL: Well, to address your point, we have several projects that were originally intended as feature films. However, we always found it challenging to fit these stories into a two-hour format. We decided to give some of these projects more room to breathe, and it really enhanced both the script and the story, as you mentioned. One of our major projects is called Havana Nocturne, in collaboration with Apple. It revolves around the era when the mafia operated in Cuba during the 1940s and 1950s, running the gambling industry and exerting political control through [Fulgencio] Batista's regime. At the same time, [Fidel] Castro, a young law graduate, emerges as a revolutionary figure, turning his back on his family to lead the revolution. These parallel narratives showcase the power struggle for Cuba's soul between Castro and the mafia, ultimately culminating in the 1959 revolution. It's a captivating, epic tale of organized crime that hasn't received much attention. While it has been touched upon in works like [The Godfather Part II], our project truly focuses on this aspect. This is one of the projects that truly excites us.

Apple TV's sci-fi content is exceptional, making it my current favorite streaming platform. However, I'm intrigued about their approach to storytelling. Do they prefer to have a clear plan for multiple seasons or are they content with just one impressive season?

LUCKINBILL: Initially, we discussed this as a series spanning three to five seasons. The decision depends on how we want to unfold the story - whether we want to take our time or accelerate the narrative. There's immense potential for growth as the story covers approximately 17 to 18 years. We always envisioned it as a long-running series. However, considering today's landscape, even limited series provoke discussions about potential pathways and their feasibility. From a business perspective, it makes sense for Apple to invest in multiple seasons if the show performs well. The earlier conversations about future seasons are becoming more common.

Shawn Levy recently worked on All the Light We Cannot See, a Netflix series consisting of four episodes. It's absolutely amazing, but it was specifically intended to be a four-episode series. Prior to watching, viewers are aware that there won't be any additional episodes. It has a very contained storyline. However, if I were a studio producer, I would prefer to have a three-season plan or at least a clear direction before investing in the first season.

LUCKINBILL: Absolutely. And if it becomes successful, then you can establish that roadmap. It's definitely a conversation that we've had, and I think it's a topic that is being discussed throughout the industry.

Image via Netflix

Here's another question for all of you: I've noticed that with two-hour movies, there's a limit to the number of small scenes you can have because of the time constraint. That's why bringing that material to television, as you mentioned, allows for more flexibility. Take Scorsese's Killers of the Flower Moon, for example. It's three-and-a-half hours long, and this longer runtime allows for moments of quiet reflection. Even Matt Reeves' The Batman is three hours, and one of the reasons it's so impressive is because it gives room for small moments where the Riddler can subtly make his mark without rushing. So as producers, how much do you consider the runtime? I know Reptile is around 2:05/2:10, but do you also see the advantage of longer movies in certain cases, as they can potentially enhance the overall experience?

SMITH: The story needs to earn it, as you mentioned. It has to be a narrative that is deserving of that level of engagement. Take, for example, Killers of the Flower Moon and a filmmaker like Marty Scorsese, whose work can captivate us for however long he desires. However, not every film can maintain that same level of intensity. Some movies require specific pacing to create the desired effect. In Reptile, Grant wanted to establish a feeling of discomfort, tension, and being on the edge of your seat. Stretching it out too much would have resulted in monotony. So it really comes down to serving the story, and I believe we struck the right balance in Reptile because you never truly know where it's heading until the very end. We aimed to take you on an emotional journey through Nichols' character, leading up to those final moments in Allen's house, where the destination remains unknown. Benicio still delivers those powerful, introspective moments, which, as you mentioned, resonate deeply. The editing process revealed that Reptile was more of a character-driven piece than initially expected. Benicio brings that depth because he embodies his character's internal struggles, allowing the audience to feel everything he does.

The length and pacing of films are always subjects of discussion, particularly in terms of cutting and keeping it tight to accommodate perceived audience attention spans. However, when the story and the filmmaker's vision are truly remarkable, whether it's Chris Nolan or Marty Scorsese or other talented individuals, it demonstrates that audiences can sustain their attention if the narrative grips them.

Yeah, Reptile obviously works for its runtime.

LUCKINBILL: Yeah, exactly.

Image via Sony Pictures 

What's the Status of 'Sicario 3'?

LUCKINBILL: It will happen.

SMITH: It will happen. We are making progress.

LUCKINBILL: The strike did cause a delay, but we are almost ready to move forward and finalize the dates. We are extremely proud of it. When we collaborated with Taylor, we always had the vision of turning it into a three-part project, at the very least. Our plan is to reunite the cast with Benicio, Emily, and Josh, as we have an amazing story to share.

I can't wait to see your movie! The first one was amazing. If you don't mind me asking, do you have a nearly finished script that you're really happy with? How far along are you in the development process?

SMITH: Currently, we are working on revising the script and we're reaching the final stages. We have a strong belief that we'll successfully complete it. We fully understand the importance of getting it right, so we're taking our time with the process instead of rushing it. However, we are highly confident that we'll soon finalize the shooting draft and reunite the entire team. The story is grand and deserving of a third installment.

Are you currently incorporating actors' notes into the project, or is it still being determined?

SMITH: Well, Benicio, who has been working with us most recently, has been the most involved so far. However, we are keeping all the talent informed and they have stayed connected to the project. As Trent mentioned, the strike has caused some delays with the latest draft, but overall, everyone is highly enthusiastic. They all have a good understanding of the story framework and are eagerly anticipating the completion of our shooting draft.

I can't remember who directed the second one, but will he be returning for the third?

SMITH: Stefano Sollima. He's incredible. However, we are still uncertain about the director for the third film. It all depends on timing. We have an abundance of excellent partners involved, including Taylor Sheridan and Chris McQuarrie, but ultimately it will come down to finding a schedule that works for everyone.

Taylor's ability to direct is unquestionable. How often do you guys ask Taylor if he wants to helm the third installment? His schedule is absolutely hectic.

LUCKINBILL: We are well aware that his schedule is crazy because Thad, who was originally meant to be on this call, just finished shooting a season of Lioness, which was absolutely amazing. Taylor wrote him a fantastic role. But, the main issue is his busy schedule. However, he remains involved and will obviously contribute his input. Then, it's just a matter of coordinating our schedules and starting real discussions to determine who's available and interested. Everyone who has ever been a part of this project has remained closely connected and continues to be fans of it. So, we will continue to move forward and see who will align and fit within our timeframe.

Watch Reptile Here

Editor's P/S

As a passionate fan of crime thrillers, I was thrilled to learn about the upcoming film "Reptile" and its recent success on Netflix. The fact that it has claimed the #1 spot for three consecutive weeks is a testament to its captivating storyline and exceptional execution. The involvement of Oscar-winner Benicio del Toro, both as an actor and screenwriter, adds even more intrigue to the project. His unique perspective and experience in the industry are sure to elevate the film to new heights.

The decision by producers Molly Smith and Trent Luckinbill to collaborate with first-time director Grant Singer demonstrates their willingness to take risks and support emerging talent. It speaks to their commitment to fostering creativity and bringing fresh voices to the forefront of the film industry. The fact that Singer was influenced by renowned filmmaker David Fincher further piques my interest, as Fincher is known for his masterful storytelling and intricate thrillers.