Peter Facinelli, an American actor and director, is best known for his extensive list of roles in television and film. Notable for his portrayal of Carlisle Cullen in the Twilight film series and Fitch Cooper in Showtime’s “Nurse Jackie,” his filmography, with more than 100 credits, includes comedies and sci-fi to biopics and dramas. His directing resume includes the 2018 feature “Breaking and Exiting,” as well as “The Vanished,” starring Anne Heche. In 2023, Facinelli starred in and co-directed survival drama “On Fire,” which debuted theatrically on September 29th, and is now streaming. Set in California, the indie feature calls attention to the global wildfire epidemic and the importance of first responders, namely firefighters. The film was praised by the critics for “igniting discussion and exposing denial of climate change”. He is also the founder of his eponymous production company Facinelli Films and has released a number of films through the company.

Why were you drawn to “On Fire?” Do you have any personal connection to any of the themes?
Wildfires have been in the news all too often now for years. When I first got the script for “On Fire,” it resonated with me. I thought, what would it be like to have my family threatened in that way? What would I do? How could I escape? I had seen the destruction of these fires on the news and read about first-hand accounts, but this story dropped me into the center of it. The audience becomes part of the family trying to survive. It was a nail biting, suspenseful ride that is based on true events. I felt compelled to be a part of helping to tell their stories.

Suit by Grayscale
Shoes by Jean-Baptiste Rautureau

Did living in California and perhaps witnessing wildfires firsthand affect your decision to star in the film?
Living in California, I've personally witnessed these fires. I remember driving home once and both sides of the freeway were on fire. I've witnessed the devastation it does to the land, to people’s homes. I've had friends lose their homes to fires. But to quote a line from the film that my character says, "Things can be replaced. People can't. " I'm very fortunate I've never lost anyone I know in a fire, and I hope I never do.

You stepped in the director’s chair while your co-director had COVID during filming. How did you balance respecting his directing style while expressing yours?
Nick Lyon was collaborative from the beginning which helped. We sat down and discussed the film, the tone, and what kind of movie we wanted to make. He opened that circle early to me as his lead actor and was an open, giving director. Since we’re on the same page about what film we were making, I think that led to him giving me a lot of trust to get what we needed. I don't think anyone could look at the film and decipher who shot what scenes because we were servicing a shared vision of the film.

What was the process like directing the film while also starring in it?
It's not a challenge I would have necessarily taken on if it was originally offered to me. I've directed before and know how much energy and work it demands. Being the lead of a film also demands a lot of work and a lot of energy. But being thrust into the director's chair I didn't have time to think about how daunting it may be. I was busy doing the jobs I needed to do. It forced me to be focused in the moment and I found it was an experience I really enjoyed, which gives me the confidence that if presented with the opportunity in the future to play the lead and direct, it's something I could handle as well as enjoy.

Without a large budget, how did you get the wildfire scenes to look and feel realistic?
We had very little practical fire when filming. Nick Lyon brought a lot of low budget indie filming knowledge to the project and had come up with the concept to use mostly lighting, flame bars and smoke for the fires. We only had one day of practical fire when we set a stuntman on fire. The rest was all CGI. It was risky in the sense that Nick needed good actors who could pull off reacting to things that aren’t there, and that he needed the CGI to be very good or the film wouldn’t work. Thankfully it was a risk that paid off. We had an incredible cast of actors. Fiona Dourif, Asher Angel, and Lance Henriksen were so talented and their performances were wonderful. It was a joy to work with them not only as an actor but to direct them as well. We also got very lucky with Joseph Lawrence who did all of the CGI. We had real fire footage mixed in with CGI and Joe’s work is so good I don’t know which are real and which are his. I was very impressed with the work he did. He worked very hard on this film. Fire isn’t easy to do and I have a lot of respect for what he accomplished. The sound design also helped. It brought the fire shots to life and between the sound design and the score the fire became its own character in the film.

Within your extensive and wide-ranging filmography, do you enjoy playing everyman roles such as Dave Laughlin?
I did. I really enjoyed playing him. I felt connected to him, being a father myself. I liked that he didn’t have all of the answers and was doing the best he could. He had heroic moments but wasn’t the typical “hero”. He was just a father doing his best to get his family out of a harrowing situation alive. There’s a moment in the film where he snaps at his son because he’s feeling stressed from trying to survive the night. But he catches himself and apologizes to his son. It’s a small moment but I always liked it. That’s being a good man, acknowledging when you’re wrong. Taking responsibility. That’s a good father. Teaching your son that it’s ok to apologize. It’s not a film where the dad is the big hero that leads everyone to safety. Each family member had heroic moments and the family working together is how they survive.

By placing the audience in the shoes of an average family, the film humanizes wildfires and firefighters. What do you hope the audience leaves with?

My character, Dave Laughlin, is a guy saddled with stresses at the beginning of the film. He has a sick dad, a pregnant wife, a new company that he owns that he’s not sure will make it, and a son going off to college that he’s not sure how he’ll pay for. But none of that matters when the fire breaks out and his family is trapped. His only concern is surviving and trying to get his family to safety. I think at the end of the film he realizes how lucky he and his family are and that if they can get through that night together, they can survive anything. I hope the audience takes away that message. That if you have your family, you have everything you need and to not sweat the small stuff. You can get through anything together. But there are a lot of other takeaways in this film. It’s a cautionary tale for families to take Precautionary measures so they can always be prepared for emergencies. Also, so many people don’t take evacuation notifications seriously. Not just fire, but for storms too. I hope this film shows that it’s always better to be safe than sorry. The family dynamic in this film and the relationships between everyone have a lot of takeaways as well. I’ve found audiences that have watched the film find a lot of personal connections to it.

Besides film, you’ve also dabbled in modeling including working with Versace. Do you have a favorite photoshoot that you’ve done?
Ha ha, I haven’t modeled in a long time. When I was younger, I modeled a little to help pay for college where I was studying acting. I was 19 when I did a Versace campaign with Christy Turlington. That was a fun shoot. It was shot by Bruce Weber. But for me it was a part time job that I always kept separate from the acting world. I was afraid to be labeled a model turned actor so I used a different name. Acting was what my goal was. But it was fun; people dressing you up, photographers making you look good.

**Left:**
Suit by Viggo
Cuffs by Pyrrha
Shirt by Grayscale
**Right:**
Blazer by King & Tuckfield
Shirt by King & Tuckfield

Did modeling help you be more comfortable in front of the camera?
If anything it was the other way around. Wanting to act and wanting to be expressive helped me be freer when I was modeling. I remember when I modeled and even when I take photos now, I create a mood for myself based on the clothes, the location, and what the photographer is looking to capture. When you’re modeling, you’re playing directly INTO the lens of the camera. The mood helps me be freer so I can express myself to the camera without feeling self-conscious.

Do you express and hold yourself differently while modeling versus acting?
There are similarities but they are different. When I’m acting, I’m not focused on the camera at all. I am aware of where it is. But then I let it go and forgot about it. I’m focused on the other actors, the situation, and given circumstances of the scene. Being focused on the scene and connecting with your scene partners is what frees you in front of the camera. When taking photos, I’m purposefully trying to connect with the lens as though that lens is the audience. Whatever mood is created helps with the expression into the lens. But they are still pictures. It’s more of a snapshot of an emotive state.

Suit by Viggo
Cuffs by Pyrrha
Shirt by Grayscale

What are you most looking forward to in 2024? Career-wise or even family-wise?
Career-wise I have five films in post-production. Because of last year’s strike some of them were held back from being released. So, I’m excited to have all of those films come out this year and for audiences to see them. As an actor, when you’re done with a film it takes a while for them to be edited and put together. I’m excited to see them all along with an audience and enjoy the fruits of everyone’s labor. A film is a massive collaboration. Hundreds of people work on them. Watching the finished product of everyone’s hard work is always exciting and I’m proud to have been part of all of these different stories and characters. On the personal front I have three amazing older daughters and 16-month-old son that keep me busy. Life feels like it moves so fast sometimes. I’m looking forward to practicing being more present and more in the moment with them in 2024 and living in gratitude. As one of ten takeaways from “On Fire” taught me: Don’t sweat the small stuff. If you have your family, you have everything and you can get through anything together.

Social Media.
Instagram: @peterfacinelli

CREW CREDITS:
PhotoBook Editor-In-Chief: Alison Hernon
PhotoBook Creative Director: Mike Ruiz @mikeruiz.one
Photographer: Storm Santos at Exclusive Artists
Talent: Peter Facinelli
Fashion Stylist: Melvin Sanders
Groomer: Ayae Yamamoto for Exclusive Artists using Shiseido and R+Co
Tearsheets by Daniel López, Art Director, PhotoBook Magazine
Interview by Sneha KC, Contributor, PhotoBook Magazine