Versace: How Andrew Cunanan’s Father Figured Into the Murderer’s “Breaking Point”

Was Andrew Cunanan born or made a serial killer? This is the question that American Crime Story: The Assassination of Gianni Versace poses with Wednesday’s episode, “Creator/Destroyer,” when it flashes back to Cunanan’s childhood and his relationship with father Modesto “Pete” Cunanan—a stockbroker who abandoned the family after allegedly “misappropriating” $106,000 when Andrew was a college freshman. (The episode contrasts Cunanan’s youth with Gianni Versace’s childhood, showing how the fashion designer was raised by a dressmaker mother in Reggio Calabria, Italy, who—because her parents had quashed her own childhood ambition of becoming a doctor—was determined to nurture her son’s professional dreams.)

Up until this episode, Cunanan has been a confounding character study—equally proud and lazy, a pathological liar who was capable of occasional generosity before his descent into drug use and murder. According to series writer and executive producer Tom Rob Smith, though, the key to understanding Cunanan’s trajectory is his father, who provided the template.

“I don’t think you can understand Andrew without understanding his dad,” Smith told Vanity Fair earlier this year. “His mom is a key figure, too, but his dad really offers the template for Andrew’s life. His dad had this spectacular rise—he came to America from the Philippines and served in the U.S. Navy. I think he worked through night college to get his trader’s license and got this extraordinary job working at Merrill Lynch in San Diego. It was this amazing ascent, and then he burnt out.”

According to Vanity Fair contributor Maureen Orth, whose book Vulgar Favors: the Assassination of Gianni Versace is the basis for American Crime Story, Pete had a special relationship with the youngest of his four children.

“Of all the children Pete has, he put so much attention toward Andrew, maybe because he thought Andrew was so good-looking,” Andrew’s godfather Delfin Labao told Orth. “It was not healthy. His father spoiled Andrew, made him feel he’s got to be somebody and, maybe that rang a bell in his uncertain mind, that that was what life was about.”

In addition to instilling that expectation, Pete embedded his son with bravado, materialism, and, even if Andrew didn’t realize it at the time, the compulsion of a pathological liar.

“By seventh grade, Andrew had developed a line of patter and a penchant for telling stories based on what he had read, and embellished for effect,” reported Orth. “The disturbing grandiosity that would mark his personality had already begun to take hold.”

Andrew was a precocious child and his parents spoiled him—even giving him the family’s master bedroom in high school. (Pete, who had a fraught relationship with his wife, MaryAnn, slept on the couch.) When Andrew was a freshman in high school, Pete even bought Andrew a brand-new sports car after his son was forced to miss an anticipated field trip—to the opera—because he was sick. Andrew was only 14 years old and did not have a driver’s license.

“Andrew, always the con man at school, was himself being conned at home,” wrote Orth. Ronald Johnston, who worked with Pete at four different firms, explained, “Pete always wore expensive suits, would buy expensive cars and expensive homes, and I think Andrew believed that was all for real. Andrew was led to believe by his father that he would attain anything he wanted to attain. And I know his father spoiled him rotten and gave him everything that he could possibly want.”

By the time that Cunanan graduated high school, though, Pete was cycling through a series of jobs and reportedly shady deals to combat his growing debt.

Explained American Crime Story writer Tom Rob Smith: “[Pete] committed what looked to be fraudulent trading activity. He moved down through various trading houses—smaller and smaller ones until he was finally caught. He had all of this fraud that was just circling him, and finally he runs to Manila.”

In 1988, when Cunanan was a freshman in college, Modesto took his cut of a deal that he was putting together, sold his cars and the family’s two “heavily mortgaged homes, and disappeared.” Per Orth, “Their family had literally had their home sold out from under them. MaryAnn was reportedly left with $700… . The experience was clearly shattering for Andrew, whose image of his dad as a powerful and reliable protector was smashed.”

Afterward, Andrew flew to the Philippines and tracked down his father—where he found the person he once believed to be a mythic figure living in squalor.

“When Andrew saw the crude poverty in which his father was living, a driving madness took over his mind,” one of Andrew’s teachers told Orth. Smith also believes that Andrew’s trip to the Philippines was a critical turning point.

“I think at that point, if Andrew had accepted that his dad was a fraud, embraced it on some level, and said, ‘This is what life is … complicated,’ he’d come back to the States having learned from the experience,” said Smith. “He could’ve done something interesting with his life. Instead, he comes back and continues his lies, telling people, ‘My dad is rich,’ and keeping up that pretense. To me, though, that was the break[ing] point in his brain. At that point there’s no going back.”

“Andrew goes through the exact same trajectory as his dad,” explained Smith. “He had his own rise—finding these wealthy affluent-older men that he’s living with. He ended up in a multi-million-dollar condo in La Jolla, this beautiful paradise, [living with Norman Blachford, a man who loved him.] He’s given an allowance. Traveling to the South of France. And he throws it all away because he can’t tolerate the notion that he is a kept man … he leaves and moves into a small place in Hillcrest, and descends through crystal-meth until he’s lost everything.”

Pointing out the similarity of father and son’s arcs, Smith explained, “His dad flees to Manila and restarts his life, but Andrew has nowhere left to go. So he goes to Minneapolis and has a breakdown. When you look at the shapes of their lives, that was absolutely the key of Andrew.”

So how, then, did Cunanan’s father Pete process the news that his son had not only mirrored his descent—he had done so in deadly fashion?

By shopping a documentary that would serve as a star vehicle for himself. Two months after the murders and his son’s suicide, the Los Angeles Times reported that Cunanan’s father Pete had already recruited a Philippines filmmaker, relocated to Los Angeles, and apparently alerted press of the project. Director Amable “Tikoy” Aguiluz VI made it clear that, in spite of Andrew being the focus of the media interest because of the murders, Pete still narcissistically saw himself as the star of the story. “I’m telling [the film] from the father’s point of view—a father who knew Andrew until he was 19—and his discovery of his son all over again,” Aguiluz told the L.A. Times.

As for whether Pete thought his son was guilty of the murders, he told papers, “This was a deep cover-up.” Rather than share sympathy for the victims and their families, he teased a potential F.B.I. conspiracy—“Hopefully, we’ll come up with some plausible explanations when we run the movie.” When speaking to Orth, Pete further revealed that he was asking for $500,000 for the rights to a film and book deal; thought it could make over $100 million at the box office; and even had an actor in mind to play his son.

John F. Kennedy, Jr.

“Their mannerisms are very, very close, almost the same,” Pete explained. “I watch John Junior very carefully. The guy has a lot of moxie in him—that dignity.”

In comparison and retrospect, Cunanan’s oft-told delusion of knowing Gianni Versace suddenly doesn’t seem so far-fetched.

Versace: How Andrew Cunanan’s Father Figured Into the Murderer’s “Breaking Point”

Matt Bomer on Making His Directorial Debut in American Crime Story: Versace: ‘Can We Sympathize With a Monster?’

Wednesday’s episode of American Crime Story: Versace marks the directorial debut of actor Matt Bomer, who — at the risk of sounding “so 2018” — says he was “truly blessed” to get to work on the FX drama.

“When Ryan Murphy called and asked me to do this — after I passed out, regained consciousness and said yes — I knew that it was a serious responsibility,” the actor tells TVLine. “I’d been offered directing jobs before, but they were jobs I was also acting in, and I wanted my first directing experience to be the full-meal deal. I wanted to really do it, to be on the location scouts and design meetings and castings and really have the full experience.”

Before stepping behind the camera for his episode’s three-week shoot, Bomer says he read “more than 3,000 pages of material on directing,” met with film and TV directors for guidance, did an intensive at the Director’s Guild of America and shadowed two different directors on three episodes of Versace. To say that he did his homework would be an understatement.

“I wanted the producers to know I was taking this seriously, that they weren’t just putting the camera in the hands of somebody who was just hoping to cruise by,” he says. “I called my representatives who were talking about acting jobs, and I told them, ‘Put everything on hold. This is what I’m doing, this is it.‘”

Bomer’s episode — which airs tonight at 10/9c — chronicles Gianni Versace and Andrew Cunanan’s radically different upbringings, showing how “success brought out the worst in Andrew and the best in Gianni.”

“We want to see [Andrew] as a three-dimensional human being,” Bomer says, “but the real challenge of this episode is: Can we sympathize with a monster and see that he was also a victim? We’re all ultimately responsible for the decisions we make and the actions we take, but this is someone who was near to violence at a very young age, who was treated like a spouse by both his mother and his father. The central question of this episode is: What makes one person a creator and one person a killer?”

Location proved to be another challenge, as the characters’ parallel stories take place in “three different countries and five different cities,” all of which had to be recreated in the Los Angeles area. “And I had two child protagonists for the first half of the episode,” Bomer notes. “I was thrown a lot of the challenges you could have as a director, which I’m actually grateful for, because now I can check those off. When someone says I have to work with a kid, I can say, ‘Been there, done that.’”

Bomer adds, “That’s one of the reasons I wanted to be present for everything. It was very clear in the room when I was casting that Edouard Holdener was the right person to play young Andrew.”

He also praises the work of Jon Jon Briones, the actor playing Andrew’s father, who was first brought to his attention by star Darren Criss and EP/writer Tom Rob Smith. “They’d seen him on Broadway in Miss Saigon,” he recalls. This was a guy who had been doing that show for over 20 years, but he was ready for this experience, and his audition was phenomenal. It’s a testament to Ryan Murphy that he’s willing to take a chance on new people who are ready for the experience and ready to serve the story in the best way possible.”

Speaking of exceptional performances, Bomer says he feels “spoiled” that he had a front-row seat to Criss’ take on Andrew almost from the very beginning. “I knew Darren was a brilliant actor and a great artist, but there were times where I would watch him on camera and it was like he just suddenly was this person,” Bomer recalls. “It was bone-chilling to watch.”

Still, it takes a village to put even a single episode of television together, and Bomer has a laundry list of people to thank: “The director of photography, Simon Dennis, was incredible; Jamie Walker McCall designed that incredible plantation set; Alexis Martin Woodall, what she does in the post department is phenomenal; and Shelly Westerman, who edited the episode, is one of my all-time editing heroes.”

“I was really so lucky to work with Ryan’s people,” Bomer adds. “I’d worked with him for so long [on projects like Glee, American Horror Story and The Normal Heart] that I knew most of the camera crew from other jobs. But the level of professionals you work with in his world are top notch.”

Matt Bomer on Making His Directorial Debut in American Crime Story: Versace: ‘Can We Sympathize With a Monster?’

Matt Bomer Discusses Directorial Debut on ‘The Assassination of Gianni Versace’

Unlike many actors who decide to add directing to their resumes, Matt Bomer did not start with an episode of a television show on which he was already starring.

“I had the opportunity to direct in the past — projects I had been working as an actor in. But I really wanted my first [one] to be the real thing where I was doing all of the prep, doing all of the location scouting, doing all of the casting — having the full experience, not just trying to fit it in,” Bomer tells Variety.

Instead, his first foray behind-the-scenes was with “The Assassination of Gianni Versace: American Crime Story.” And not just any episode but the penultimate one (entitled “Creator/Destroyer”), in which the show finally goes far back enough in the timeline to see both Gianni Versace (Edgar Ramirez) and Andrew Cunanan’s (Darren Criss) childhoods to show how similar they were at the start of their lives — but how, when, and why their paths so greatly diverged.

“I had forgotten, really, just how difficult it was to be gay in the ’90s,” Bomer says. “That’s something this series does a great job exploring. Someone who’s at the height of success with Gianni and the courage it took at that time to come out — that was incredibly brave and incredibly forward-thinking. And then Andrew, who’s at the bottom of the heap, and wants fame and success and fortune but wasn’t going to get it living in a day and age as who he was.”

Ahead of his directorial debut, Bomer talks with Variety about developing his process, the unique challenges with which this “origin story” episode came, and what scene he was most sad to leave on the cutting room floor.

What made “Versace” the right first project for you to direct?

I had worked with Ryan [Murphy] many times in the past, and he knew I was very fastidious about my preparation and research and would often come in with reams and binders of homework. He mentioned to me that I should direct, and I was grateful that he said it, but I didn’t really think much of it. But then I got a call in December, and he said, “So I want you to direct.” He knew I needed a way to engage with my creativity, and like the generous soul that he has been to so many in the past, he offered me a job on “Versace” and I said yes.

How did you get attached to the eighth episode, specifically?

Ryan knew what was going to be the best opportunity for me. There was a time when it was almost [episode 7] but then it became this one, and I just rolled with it. I was there on set, shadowing other directors, and I knew when my time comes Ryan would choose the right one for me to do.

What were the most important aspects of your prep work?

I read books, I worked with the DGA, I had friends in film and TV give me advice and walk me through some things. I shadowed two of the great directors on “Versace.” I saw the level of talent there, and I wanted to be of that level when I stepped up to the plate.

How did you balance setting a visual tone and working with the actors on performances?

It was a lot about performance. We had some fancy shots in the show, for sure, but it didn’t require a ton of that. It wasn’t a shooter episode. It was for somebody to be there in the trenches with the actors, hashing these relationships out. And that was what I was most excited to do.

The story thus far has focused more on Andrew than Gianni. Was it a challenge to find new layers to peel back this far into the season?

The real challenge of this episode is can we get a more holistic vision of who Andrew is and what he endured as a kid and why he became what he became — so that when we are with him in those moments in Miami, post-everything, can we get a more three-dimensional idea of who he is? This episode also had a huge challenge of, how do we have sympathy for a monster? You really boil it down to the central question of the episode, and that is what makes one person a creator and one person a killer? The answer is hard work. One person believed the world owed him success, that he was special, that he was the chosen one, that fame and fortune should just come to him. The other had a mother who taught him that he had to work hard for it, that fashion is a craft. So you have this central theme of ambition, but Andrew’s ambition and Gianni’s ambition had different results. The shots you choose and the frame that you choose and the setting you choose, they all have to relate to that theme.

The producers have said they believe Andrew was made a killer, not born that way. What did you want to focus on in fleshing out that idea and showing the times in Andrew’s life when those violent seeds were planted?

I think we all have to be held accountable for the choices we make. We’re all dealt specific circumstances in our life. Some people could be dealt a circumstance and grow up to be fine, functioning adults. For Andrew it didn’t work out that way. He was somebody who was lured to a great deal of violence at a very young age. He was espoused by both of his parents, he was given the master bedroom, he was taught that it isn’t enough to be smart but you also can’t let them see you’re an outsider for even a minute — that’s what [his father] Modesto says to him. And he’s caught up in something bigger than himself, ultimately, with his father that he doesn’t have the freedom to react or to respond to. And we see his father’s influence on him over the course of the episode. What I wanted to create with that last scene — their confrontation, that sort of “Heart of Darkness” scene with all of the sweat and the shadows and the heat — I wanted that to give you the sense that if Andrew could’ve just killed his dad, he wouldn’t have killed anybody else. That was a big part of the dynamic I was trying to create in the story.

What was the biggest thing you learned about directing by working on “Versace”?

I think I learned my process — or at least the beginnings of my process, which is a huge thing. Now I know I can do it. The first cut was 90 minutes, which we shot in 12 days, which is a lot — a lot! We had to cut it down to 60 minutes. But I think a huge part of it is just getting it done that first time, and I’m so lucky that I was able to rely on the DGA, to rely on professionals in the industry who were generous enough to say, “Here’s how to do it.” I read all of these books, and I kind of created my own way to approach a scene. A lot of it is the script you’re given, and you have to develop a technique, and this was a safe environment in which to do [that] because I had worked with so many of these people before, and I knew the talent they had.

With a 90-minute director’s cut of the episode, was there anything you wish you could have left in?

There was a scene with older Gianni and his mother, and it was really beautiful, but it kind of came in toward the end after we hadn’t seen him for two or three acts. All of a sudden he was there, and it sort of took us out of the story we were so invested in with Andrew getting to Manila and getting to his father. And at a certain point you have to whittle down to what serves the theme the most.

Matt Bomer Discusses Directorial Debut on ‘The Assassination of Gianni Versace’


https://acsversace-news.tumblr.com/post/171862562364/audio_player_iframe/acsversace-news/tumblr_p5kz26dSkV1wr243n?audio_file=https%3A%2F%2Fwww.tumblr.com%2Faudio_file%2Facsversace-news%2F171862562364%2Ftumblr_p5kz26dSkV1wr243n

dailydcrissnews:

Darren Criss, ‘The Assasination of Gianni Versace: American Crime Story’- Popcorn with Peter Travers

darren criss on playing versace’s killer in american crime story

dcriss-archive:

Season two of Ryan Murphy’s true crime epicAmerican Crime Story is, like season one, decidedly not-a-murder-mystery. There’s no process of deduction. No great whodunnit, at its core. In fact, the series’ most famous killing happens in the opening few minutes, in broad daylight, as it did in real life, on the steps of the Casa Casuarina, that baking hot morning in July of 1997.

At the time, Gianni Versace was the most famous fashion designer in the world. His killer, 27-year-old Andrew Cunanan, by contrast, was not famous. At least not nearly as famous as he should have been, as someone on the run for the brutal murders of four other people.

“I think unless you were in the gay community, in San Diego, in Miami, in a certain part of the 90s, or in Versace’s personal life at the time, the story seems quite distant,” says Darren Criss, who plays the killer with startling visual likeness.

The former Glee actor grew up in San Francisco when Cunanan would have been going out there. He’d have been in the city around the time Cunanan may or may not have first met Versace (a point of contention the series cleverly side steps). “My parents even went to Capriccio, the opera that Versace designed for,” he says. “So, I was there, but, you know, my parents were both bankers – they weren’t going to be like, ‘Oh, Darren, Gianni Versace was murdered on the steps of his home’. We wouldn’t have talked about it at the dinner table.”

And therein lies the part of the crux. You see, the “American Crime Story” of season two is not the murder of Gianni Versace alone. Rather, it is the failure to prevent the murder of Gianni Versace – a negligence, ignorance, lack of awareness or other that lead the book upon which the series is based [Maureen Orth’sVulgar Favours] to be subtitled: The Largest Failed Manhunt in the US History.

FULL ARTICLE | I-D VICE.COM

darren criss on playing versace’s killer in american crime story

Q&A: Matt Bomer on directing ‘Versace,’ ‘Boys in the Band’ and a ‘White Collar’ reunion

Actor Matt Bomer is central to Wednesday’s penultimate episode of FX’s The Assassination of Gianni Versace: American Crime Story (10 ET/PT), but viewers won’t see him. He’s playing a new role: director.

Bomer (White Collar, The Normal Heart), 40, spoke to USA TODAY about his first-time gig directing the episode, “Creator/Destroyer,” which looks at designer Versace and his killer, Andrew Cunanan, as pre-teens; working with his mega-producer friend Ryan Murphy; and the chances for a revival of his USA hit, White Collar.

Question: How did this first-time directing assignment come about?

Bomer: I’d worked with Ryan several times. He knew I always would come into the set with reams of text work and research and he said, ‘You should direct.’ I thought it might be on American Horror Story, but he said Versace. I promptly passed out. When I came to, I said, ‘Yes.’ This was a four-month labor of love for me. I read over 3,000 pages of books. I met with director friends to get insight. I did an intensive with the DGA (Directors Guild of America). I shadowed two other directors of the show. So by the time I got on set, I was at least able to fake it till I made it.

Q: How did you approach Cunanan in this episode, which portrays a future killer and a future fashion icon as youths?

Bomer: “We’re all responsible for the choices we make, but it was a big question of this episode: Can we empathize with a monster when we see the circumstances of his life and the hand he was dealt? What makes one person a creator and one a killer?

Q&A: Matt Bomer on directing ‘Versace,’ ‘Boys in the Band’ and a ‘White Collar’ reunion