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Director and photographer Paul Joyce, recalls his meetings with Patricia Highsmith and reviews Ripley on Netflix. I have to declare an interest when talking about the new and superb adaptation of Ripley by Patricia Highsmith, currently unwinding on Netflix, for I met and got to know her reasonably well. So this is my part of the Ripley-Highsmith tale. In 1977, the German director Wim Wenders undertook one of the earliest attempts at incarnating arguably Patricia Highsmith's most famous of characters, the shape-shifting, inchoate, anti-hero, Tom Ripley. In a bizarre act of casting, Wenders chose Dennis Hopper to play the lead, alongside his great German counterpart, Bruno Ganz. The result was an unusual collision of styles (some unkind souls might even say even a mishmash) and combined the least interesting aspects of the triumvirate – Highsmith, Wenders and Hopper – in a garishly photographed and confusingly resolved narrative. If ever a film could be described as the proverbi