Justin Tipping is officially back in the big-screen game.
The filmmaker burst onto the scene in 2016 with his coming-of-age indie “Kicks” before diving into the world of television, directing episodes of shows like “The Chi” and “Black Monday,” as well as serving as an executive producer and director on “Flatbush Misdemeanors.” But years of the TV grind had him feeling burnt out, and he desired a return to features. Luckily, that’s when Oscar winner Jordan Peele thought of him for, well, “Him.”
Produced by Peele and his Monkeypaw Productions, “Him” follows a promising young quarterback, Cameron Cade (Tyriq Withers), as he practices at the isolated compound of Isaiah White (Marlon Wayans), the legendary player he’s set to replace. Soon, though, the grueling training regimen turns into something much more twisted.
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Peele tapped Tipping as co-writer and director of the in-demand script, originally titled “Goat,” written by Zack Akers and Skip Bronkie, co-creators of the fiction podcast “Limetown.” Recognizing how enormous this opportunity was, Tipping threw everything he had into the sports-horror hybrid.
“I was anxious and nervous of this moment, because there was more falling onto me and I had more creative control. But I was ready for it; I wanted it,” he says. “I was like, I’m gonna take every swing I can and push it as far as I can and see what I can get away with. And I’m laughing, because sometimes I’m like, I can’t believe I got away with all that.”
Here, Tipping discusses his long road to “Him,” Peele’s advice that shaped the finished film, and how unorthodox casting choices add to the movie’s surreal atmosphere.
Director Justin Tipping Credit: Parrish Lewis/Universal Pictures
What’s your “Him” origin story?
I met Jordan back in 2017. I had just made my first feature [“Kicks”], and he said he was really impressed and wanted to work together. We never found anything, and then I got my first-ever paid job on a set, a TV gig, and that day I got a call that my father unexpectedly passed. I now realize that I just went back to work [to avoid] processing what happened. Eventually, I got burnt out. So I wanted to get back into features and find something that is creatively rewarding.
I was actually planning on writing a spec, and then this came to me, and it was just an immediate “I know what to do with this.” What happens when the athlete is the commodity and institutions move them around like warm bodies? That’s the horror of professional sports. As you can see, I had a very weird, strong take. [Laughs]
There are nine years between the movies you directed. How do you feel you grew as a filmmaker?
“Kicks” happened very quickly—maybe too quick, where I was just overwhelmed. TV gave me repetition and freedom to try things and learn how to be quick and problem-solve. I definitely used those skills in this movie.
I was a first- time studio director, so, in this new space, I had a lot to prove. I couldn’t just be like, “Can I have more money?” I had zero power. I was the biggest risk on the show. So it was like: “Here’s your sandbox; here’s your budget.” And if I didn’t have that ability to pivot or improvise at some points, it might not have been the same movie.
If anything, that loss of my dad taught me that now, being on set, nothing is going to affect me more than that. So there’s this freedom that comes with it. Like, what else?
(L to R): Director Justin Tipping, Tyriq Withers, Producer Jordan Peele, and Marlon Wayans on the set of “Him” Credit: Parrish Lewis/Universal Pictures
How impactful was the collaboration with Jordan?
To have someone of his stature have your back is invaluable. He’s a savant writer. I could go away and work on a draft, but then I’d get a one-on-one with Jordan, and those were fascinating. He has an innate ability to identify the genre structures and patterns, or the little things in the details that will elevate it.
I don’t think I can get away with this movie if not for Jordan and his blessing. Of course, people are gonna question me: “He’s never done a movie of this scale,” or “He’s never done straight horror.” And [Peele’s] first answer is always, “I never did either before ‘Get Out.’ ” You can’t really argue that!
What was the biggest or most unique challenge on “Him”?
This entire movie was a constant calibration of walking this tonal line, and I remember feeling like an absolute madman with the last scene. It was either too silly or too serious; it wasn’t working. I had at least three different versions cut of the last scene, and then Jordan was able to come in and watch. And that’s another invaluable [part], to have a bouncing board like him, where he’d be like, “No, don’t worry about that; it’s all about this moment.” He helped land the plane.
From top to bottom, there is such inspired casting in the film, including comedy stars Marlon Wayans and Jim Jefferies, and then “Uncut Gems” breakout Julia Fox. Were you aiming for the unexpected?
If we’re going to defy expectations with the first weird sports-horror mashup, we should subvert every chance we can get. Let people think they’re gonna get one thing and then give them another. I’m so glad you shouted out Jim; he was incredible. I didn’t even realize he was acting until I saw his audition tape, and I immediately was like, “Absolutely.” I overwrote the audition pages just to get more of how far people are going to go to be absolutely crazy. Jim brought something back that was the same thing as Marlon, where it could be funny but there’s an underlying sadness.
With Marlon, the studio was definitely like, “Wait, what?” But I wanted to cast someone who was older to play younger. I thought that was more in theme with athletes and the Fountain of Youth. He’s been around fame, money, celebrity—good and bad—and has seen it all. He’s already a GOAT. I just don’t think he had the opportunity for a role like this before.
[Wayans] was a perfect counterpart to Tyriq, who, parallel to the character, [was acting in] his first big thing. Putting someone grounded into a world with hyper-personalities like Julia, Marlon, and Jim was great for this “Alice in Wonderland,” fish out of water, “what is going on?” vibe. The only problem with having Marlon and Jim on set is that they make everyone laugh all the time, so you have to tell the crew, “Please don’t engage; they’re going to just break into a set.” But that’s a good problem to have.
This interview has been edited for length and clarity.