Tribeca 2011: Peter Mullan Breaks the Rules With “NEDS”

Tribeca 2011: Peter Mullan Breaks the Rules With “NEDS” (photo)

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Of all the expressions Peter Mullan is capable of, it may be his smile that’s most unsettling. An incredibly warm, gregarious and articulate gentleman in person, he’s still intimidating in nearly every way, whether you’re treated to his ferocious intellect on subjects as diverse as his approach to acting or the collapse of American imperialism or learn that he was part of a street gang in his teens. So when he grins you can’t accept it as simply that, there has to be something more.

That’s why “NEDS,” Mullan’s third film as a writer/director, which is also his first to resemble a comedy – and an alternately hysterical and grim one at that, is a coming-of-age story that refuses to bask in any kind of nostalgia around 1970s Glasgow as it illustrates the plight of John McGill, a young man whose attempt to escape an abusive father and the legacy of his Non-Educated Delinquent brother is thwarted by frustration at home and school that lead him down the same path of the men in his family he’s come to hate. With a touch of Lindsay Anderson’s surreal “If…,” John is told by a hooded stranger abruptly after elementary school graduation his life will be a living hell and once in high school, he’s made to stand on his desk to receive sarcastic applause from his teacher after getting a perfect score on a test, ultimately making a decision to fall in amongst the local NEDS an easy one.

Mullan’s been careful to call the film “personal, but not autobiographical,” yet if there’s an obvious parallel to be drawn to reality it’s that the actor must have felt similarly out of place in his youth as a Jung-reading street tough. A rough-hewn Scot who clearly bears the soul of a poet, Mullan once again brings out the grace that made his last film, “The Magdalene Sisters,” so understatedly powerful while dealing with such tragic subject matter and yet is able to add a wicked wit and a florid color palette to “NEDS” that makes his latest feel buoyant. During the Tribeca Film Festival, whose distribution arm has also made the film currently available around the country on VOD, Mullan talked about the evolution of the film over the past five years, why children should be allowed to curse on film, and how he may tackle the aftermath of Hurricane Katrina with his next film.

You actually started in one place with this film, wanting it to deal with the subject of knife violence, and it ended up as a darkly humorous coming-of-age film. What was that evolution like?

I started off wanting to address knife crime and in particular, what I saw as my generation’s unconscious hypocrisy as more and more guys my age – I’m 51 – keep reading newspapers and reading about knife crime and saying things like we never did that in our day. It really started to get on my tits because it’s like yes, we did. And we know we did. So let’s not all pretend that this generation of NEDS have come out of nowhere. This is generational. So that’s what begun the process of looking into NEDS and I quickly realized it’s a hugely complex issue that dates all the way back to the industry revolution. I figured I couldn’t offer any answers, certainly not any simple answers.

Slightly unconsciously, if you can have such a thing, it begun to change into [something] more about adolescence and what happens in that point in your life when you haven’t quite shed all the trappings of childhood and you’re just stepping into those slightly larger shoes that are supposed to fit you for adulthood. How do you get through that particular dark place and come out the other side? Do you come out intact? Or do you turn out irrevocably and irreversibly changed through it? So that was where in the writing of it, it became a little less didactic.

NedsPeterMullan2_04232011.jpgI understand the research involved talking to kids now, which is interesting since you’re portraying a different era. Did what change or not change surprise you?

I didn’t talk to any kids about the script. It was only when we were shooting the film a couple of times, I would ask my youngsters, “does this make sense to you?” And sadly, it all made sense to them because really the only two primary differences, I would say, would be the cell phone and drugs. Apart from that, nothing much has changed. The fashion has changed, but in terms of how they operate, how they function, what their goals are, that’s not really changed that much.

That’s really saddened me, but then again, I did a little bit of research into the history of the gangs and there was very little that’s definitive. Most of the research was site-specific and gang-specific in the sense that a sociologist would cover a gang from 1969 to 1970 and from that would extrapolate various evidence. But I read one story about two kids who witnessed a street fight in Edinborough. It was a street fight between two older lads and these two kids cheered the wrong one, as in the one who got beat, so the one who got beaten on took exception to these two kids supporting his rival and chased them down the street, got ahold of one of them and killed him by beating him to a pulp with a brick — opened his head. This little kid died, nine years old. Now, this story happened in 1892 and that really struck home. It’s like shit, I could’ve used that exactly that same story in 2011 or 1970s and nothing’s changed.

It’s been interesting to see with both “NEDS” and “The Magdalene Sisters” that you’ve told these stories with young and largely unknown casts when so often actors who go into directing use their famous friends. Why are you attracted to that and what do you get from it?

I love the idea that there’s a lot of working class talent out there that never really gets to present itself. Sadly in my country, we don’t have the avenues for youngsters to really show what they can do because if you put them on television, they’re instantly neutered because they can’t swear. And I’m not advocating foul language, but the problem with it – and I remember it when I was teaching in universities and prisons and the like – if you did ever do a class in school, you’re there to get kids to express themselves and the minute you say that you can’t say half the things you would normally say in the way you would normally say it, “now express yourself,” that’s absurd because immediately you’re saying something. The minute you’re saying something, there’s mistrust and there’s frustration because if you’re say to your kid, “I want you to just be yourself, but talk differently,” then that changes the whole process of speech and language.

NedsPeterMullan3_04242011.jpgSo the reason why I cast “NEDS” the way I did is because I wanted kids who would enjoy the freedom of being themselves and we’d record it. Then we’d put it 20-foot by 30-foot [referring to the big screen] because there’s a big buzz to be had about that and it felt easy to them. That’s a technique I learned very much from Ken Loach and the Moscow State Theater when I used to work with them, which was if you can enjoy something, the real wage that you get if you’re doing film is you get to watch it back. Now, the audience sees something different. They see pain, angst, violence, whatever they see. When you were doing it, it was just a game that you were having a lot of fun doing.

A lot of times people will ask you about the darkness of “Magdalene” or “My Name is Joe” and the truth is, I don’t remember the darkness. I just remember it being fun. All my girls in “Magdalene” had a blast. All my lads and girls in “NEDS” had a ball. They’ve all become really close friends. That’s the important thing when you make a film is they don’t have to suffer. They really, really genuinely don’t. And some scenes are tougher than others, but the real payback is you get to present them in a way they’ve actually forgotten or didn’t even realize was being shot and then they sit back and then they take the credit for it. [laughs]

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Hard Out

Comedy From The Closet

Janice and Jeffrey Available Now On IFC's Comedy Crib

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She’s been referred to as “the love child of Amy Sedaris and Tracy Ullman,” and he’s a self-described “Italian who knows how to cook a great spaghetti alla carbonara.” They’re Mollie Merkel and Matteo Lane, prolific indie comedians who blended their robust creative juices to bring us the new Comedy Crib series Janice and Jeffrey. Mollie and Matteo took time to answer our probing questions about their series and themselves. Here’s a taste.


IFC: How would you describe Janice and Jeffrey to a fancy network executive you met in an elevator?

Mollie & Matteo: Janice and Jeffrey is about a married couple experiencing intimacy issues but who don’t have a clue it’s because they are gay. Their oblivion makes them even more endearing.  Their total lack of awareness provides for a buffet of comedy.

IFC: What’s your origin story? How did you two people meet and how long have you been working together?

Mollie: We met at a dive bar in Wrigley Field Chicago. It was a show called Entertaining Julie… It was a cool variety scene with lots of talented people. I was doing Janice one night and Matteo was doing an impression of Liza Minnelli. We sort of just fell in love with each other’s… ACT! Matteo made the first move and told me how much he loved Janice and I drove home feeling like I just met someone really special.

IFC: How would Janice describe Jeffrey?

Mollie: “He can paint, cook homemade Bolognese, and sing Opera. Not to mention he has a great body. He makes me feel empowered and free. He doesn’t suffocate me with attention so our love has room to breath.”

IFC: How would Jeffrey describe Janice?

Matteo: “Like a Ford. Built to last.”

IFC: Why do you think the world is ready for this series?

Mollie & Matteo: Our current political world is mirroring and reflecting this belief that homosexuality is wrong. So what better time for satire. Everyone is so pro gay and equal rights, which is of course what we want, too. But no one is looking at middle America and people actually in the closet. No one is saying, hey this is really painful and tragic, and sitting with that. Having compassion but providing the desperate relief of laughter…This seemed like the healthiest, best way to “fight” the gay rights “fight”.

IFC: Hummus is hilarious. Why is it so funny?

Mollie: It just seems like something people take really seriously, which is funny to me. I started to see it in a lot of lesbians’ refrigerators at a time. It’s like observing a lesbian in a comfortable shoe. It’s a language we speak. Pass the Hummus. Turn on the Indigo Girls would ya?

See the whole season of Janice and Jeffrey right now on IFC’s Comedy Crib.

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Die Hard Dads

Inspiration For Die Hard Dads

Die Hard is on IFC all Father's Day Long

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Photo Credit: Everett Collection, GIPHY

Yippee ki-yay, everybody! It’s time to celebrate the those most literal of mother-effers: dads!

And just in case the title of this post left anything to the imagination, IFC is giving dads balls-to-the-wall ’80s treatment with a glorious marathon of action trailblazer Die Hard.

There are so many things we could say about Die Hard. We could talk about how it was comedian Bruce Willis’s first foray into action flicks, or Alan Rickman’s big screen debut. But dads don’t give a sh!t about that stuff.

No, dads just want to fantasize that they could be deathproof quip factory John McClane in their own mundane lives. So while you celebrate the fathers in your life, consider how John McClane would respond to these traditional “dad” moments…

Wedding Toasts

Dads always struggle to find the right words of welcome to extend to new family. John McClane, on the other hand, is the master of inclusivity.
Die Hard wedding

Using Public Restrooms

While nine out of ten dads would rather die than use a disgusting public bathroom, McClane isn’t bothered one bit. So long as he can fit a bloody foot in the sink, he’s G2G.
Die Hard restroom

Awkward Dancing

Because every dad needs a signature move.
Die Hard dance

Writing Thank You Notes

It can be hard for dads to express gratitude. Not only can McClane articulate his thanks, he makes it feel personal.
Die Hard thank you

Valentine’s Day

How would John McClane say “I heart you” in a way that ain’t cliche? The image speaks for itself.
Die Hard valentines


The only thing most dads hate more than shopping is fielding eleventh-hour phone calls with additional items for the list. But does McClane throw a typical man-tantrum? Nope. He finds the words to express his feelings like a goddam adult.
Die Hard thank you

Last Minute Errands

John McClane knows when a fight isn’t worth fighting.
Die Hard errands

Sneaking Out Of The Office Early

What is this, high school? Make a real exit, dads.
Die Hard office

Think you or your dad could stand to be more like Bruce? Role model fodder abounds in the Die Hard marathon all Father’s Day long on IFC.

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Founding Farters

Know Your Nerd History

Revenge of the Nerds is on IFC.

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Photo Credit: Everett Collection, GIFs via Giphy

That we live in the heyday of nerds is no hot secret. Scientists are celebrities, musicians are robots and late night hosts can recite every word of the Silmarillion. It’s too easy to think that it’s always been this way. But the truth is we owe much to our nerd forebearers who toiled through the jock-filled ’80s so that we might take over the world.


Our humble beginnings are perhaps best captured in iconic ’80s romp Revenge of the Nerds. Like the founding fathers of our Country, the titular nerds rose above their circumstances to culturally pave the way for every Colbert and deGrasse Tyson that we know and love today.

To make sure you’re in the know about our very important cultural roots, here’s a quick download of the vengeful nerds without whom our shameful stereotypes might never have evolved.

Lewis Skolnick

The George Washington of nerds whose unflappable optimism – even in the face of humiliating self-awareness – basically gave birth to the Geek Pride movement.

Gilbert Lowe

OK, this guy is wet blanket, but an important wet blanket. Think Aaron Burr to Lin-Manuel Miranda’s Hamilton. His glass-mostly-empty attitude is a galvanizing force for Lewis. Who knows if Lewis could have kept up his optimism without Lowe’s Debbie-Downer outlook?

Arnold Poindexter

A music nerd who, after a soft start (inside joke, you’ll get it later), came out of his shell and let his passion lead instead of his anxiety. If you played an instrument (specifically, electric violin), and you were a nerd, this was your patron saint.


A sex-loving, blunt-smoking, nose-picking guitar hero. If you don’t think he sounds like a classic nerd, you’re absolutely right. And that’s the whole point. Along with Lamar, he simultaneously expanded the definition of nerd and gave pre-existing nerds a twisted sort of cred by association.

Lamar Latrell

Black, gay, and a crazy good breakdancer. In other words, a total groundbreaker. He proved to the world that nerds don’t have a single mold, but are simply outcasts waiting for their moment.


Exceedingly stupid, this dumbass was monumental because he (in a sequel) leaves the jocks to become a nerd. Totally unheard of back then. Now all jocks are basically nerds.

Well, there they are. Never forget that we stand on their shoulders.

Revenge of the Nerds is on IFC all month long.

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