This browser is supported only in Windows 10 and above.

DID YOU READ

Richard Ayoade on Coming of Age With “Submarine” and His Take on “Die Hard 5”

Richard Ayoade on Coming of Age With “Submarine” and His Take on “Die Hard 5” (photo)

Posted by on

This interview was originally published during the 2010 Toronto Film Festival.

“I have a very sarcastic sounding, insincere voice,” joked Richard Ayoade during his introduction to “Submarine,” an adaptation of Joe Dunthorne’s coming-of-age novel about Oliver Tate (Craig Roberts), a 15-year-old consumed with looking up words like “atavistic” in the dictionary, saving his parents (Sally Hawkins and Noah Taylor) from being split up by a mulleted motivational speaker (Paddy Considine), and romancing his humble classmate Jordana Bevan (Yasmin Paige).

Submarine_05302011.jpgCertainly, Ayoade can be self-effacing, as one might know from his turn as a regular on Britcoms auch as “The IT Crowd,” but as a first-time director, he is never anything less than genuine, even while wringing laughs from the most embarrassing of experiences from growing up. His directorial debut will surely draw comparisons to Wes Anderson and Hal Ashby for its bittersweet take on adolescence told with style to spare, but “Submarine” is a wholly original creation that I must admit I couldn’t hear all the dialogue for since raucous laughter was constantly trampling over the lines at the film’s premiere at the Toronto Film Festival.

Shortly before Ayoade and his “Submarine” crew (including Ben Stiller, an executive producer) closed a deal with the Weinstein Company to bring the film to audiences everywhere soon enough, he sat down to discuss making the jump to making features from directing videos for the likes of Vampire Weekend and the Arctic Monkeys (frontman Alex Turner returns the favor with an original soundtrack for the film), the unusual influences for his teenage tale, and the sequel he’d like to tackle next.

How did this become your first feature?

It was, in many respects, random in that I had done a music video for Warp [the film’s production company] and somebody who works at Warp went to college with Joe Dunthorne, who had written the novel, so they sent me it before it had come out. I wasn’t aware of the book through being shopped or anything and they thought I might be worth considering to adapt it and I just decided to try because I really liked the book and didn’t necessarily think it was translatable very readily and it’s very internal, it’s all in the first person.

There were a number of things that seemed to indicate you shouldn’t try to adapt it, but I’ve always liked that subject area, partly because it feels peculiarly American, I guess. A show like “Dawson’s Creek” is unthinkable in England or “My So-Called Life” or “The Wonder Years” or anything like that, or “The Graduate” or those John Hughes films. There’s no real genre of that in England of what you’d call the teen genre. It just doesn’t exist. So I’ve always been very interested in that.

09172010_Submarine6.jpgI imagine that’s something you both wanted to embrace for particular story beats and overcome to make something original.

The thing you don’t necessarily think about more in this than potentially doing any genre of film, whether they’re the well-mined tropes of the horror film or a thriller or all of those types of films, is that they have their own clichés and rules and in some sense, it’s inescapable. You just hope that the characters in it feel real and right and it felt from the novel, there’s something different about the character of Oliver Tate that was different to characters I’ve seen in other things or read about in other books, so I guess that gave me the confidence to try and attempt it.

You mentioned the other night that many of the things in Oliver’s room were similar to knickknacks you had as a kid — how much of yourself did you want in the film?

I suppose you end up investing yourself into it in some regards because that’s your way of attacking it, in the same way that I think all good acting performances have something of the person playing them brought to it. Otherwise, it becomes a form of mimicry that doesn’t have any depth to it. So inevitably, you bring things that have meaning to you or you feel will inform it in some way or things that you feel are correct. I like in “The Graduate” how Dustin Hoffman is said to give Mike Nichols’ cough and Mike Nichols did that in meetings. If you put personal things into what you do, you feel that it’s authentic or they have some form of meaning to you.

Since you came up as a comedian, that’s such an improv-heavy medium and you’re obviously a film geek and this film has such precision. Did those two things collide on this film?

I think it’s both in a way that I suppose, for example, a lot of comedians write through improvisation and that you end up boiling it down and you keep the good bits. I think improvisation for its own sake isn’t particularly interesting.

09172010_SallyHawkinsSubmarine.jpgThere’s a tension when someone’s improvising in the room because there’s a one-offness to it, but as soon as it’s captured, it can seem incredibly baggy and self-indulgent and meandering, so you hope to have the illusion of improvisation without the long passages of rubbish that can come out of it.

You mentioned “The Graduate,” but were there other films that got you in the mood to make this one?

Oddly enough, the films that felt most directly influential on it were “Taxi Driver” and “Badlands,” not because of the subject matter particularly, but the dispassionate voiceover and they’re both having central characters who have an idea of their own legacy and even though clearly the subject matter of this is much less cataclysmic or violent or brooding or mythic than those films, there’s something about having a character with a stated view of reality juxtaposed with the view of reality the audience sees.

Like those films, “Submarine” also strongly invests in its visuals. What was it like expanding your style to a feature-length film?

Well, those films are incredible and obviously Terrence Malick and Martin Scorsese are just the best. I suppose in the shooting of it, the director of photography [Erik Wilson] and I both love [“Days of Heaven” cinematographer] Néstor Almendros and wanted to shoot with natural light and wanted to partly just so that people weren’t waiting for scenes to be lit. It’s just awful, I think, for actors if they have to just wait for a very long time and it just allows you to have more spontaneity and to film more and there’s something about natural light that’s very pleasing. Martin Scorsese likes to move the camera a lot and I like that in films.

In regards to doing shorter things and then moving to this, the main part of it is writing a script and just hoping that you have a story where the audience is interested enough in following that character for that length of time. One of the things about having a novel — even though you can’t directly translate it, and often I think films from novels are very bad or you can’t follow them – is that there’s something substantive there to begin with. It’s not simply a matter of compression, but your main worry isn’t whether you can fill time, your worry is whether you can be distilled enough not to repeat the same thing again and again or not make it too long and ungoverned.

How did Ben Stiller get involved? Did you send him the script?

I don’t know. I didn’t personally send it to him. I’m not exactly sure how he got it. I think he maybe liked “Garth Marenghi,” this TV show I was involved with, so maybe he was interested to take a look.

RichardAyoadeSubmarine2_05302011.jpg

In terms of coming along and presenting it, I think he’s the person who downplays his involvement the most in that for him, he said that [his production company Red Hour Films] just wanted to do whatever they could to help find an audience for it and be supportive really. They’re incredibly kind in that regard and weren’t overbearing. But in terms of the development of the film, that was through Film4 and they’ve been great.

How was the premiere for you as a whole?

It was very frightening and overwhelming really and it seems very inappropriate to massively enjoy those things because then you’d be insane. It would be so strange if what you enjoyed most was assembling 700 people and watching something you’d done with them, the idea of that is so bizarre. It can’t be something you would seek out. It ended up happening that you don’t really think about it at all when you’re making it. You somehow don’t imagine that anyone other than maybe your friends might see it. That’s how I’ve always imagined things and in many cases, that has been the case. It’s generally just friends who’ve seen things I’ve done.

Are you working on anything now?

“Die Hard 5,” I’m in early talks to do that. [smiles] I’m going to just try to bring some of the feeling of this to that.

I’ve always wanted to see the younger version of John McClane.

Yeah, there’s going to be a lot more stuttering and he’s going to have self-esteem issues in this one. [laughs]

“Submarine” opens in limited release on June 3rd.

Watch More
IFC_Portlandia-AORewind-blog

A-O Rewind

Celebrating Portlandia One Sketch at a Time

The final season of Portlandia approaches.

Posted by on
GIFs via Giphy

Most people measure time in minutes, hours, days, years…At IFC, we measure it in sketches. And nothing takes us way (waaaaaay) back like Portlandia sketches. Yes, there’s a Portlandia milepost from every season that changed the way we think, behave, and pickle things. In honor of Portlandia’s 8th and final season, Subaru presents a few of our favorites.

via GIPHY

Put A Bird On It

Portlandia enters the pop-culture lexicon and inspires us to put birds on literally everything.

Colin the Chicken

Who’s your chicken, really? Behold the emerging locavore trend captured perfectly to the nth degree.

Dream Of The ’90s

This treatise on Portland made it clear that “the dream” was alive and well.

No You Go

We Americans spend most of our lives in cars. Fortunately, there’s a Portlandia sketch for every automotive situation.

A-O River!

We learned all our outdoor survival skills from Kath and Dave.

One More Episode

The true birth of binge watching, pre-Netflix. And what you’ll do once Season 8 premieres.

Catch up on Portlandia’s best moments before the 8th season premieres January 18th on IFC.

Watch More
SistersWeekend_103_MPX-1920×1080

WTF Films

Artfully Off

Celebrity All-Star by Sisters Weekend is available now on IFC's Comedy Crib.

Posted by on

Sisters Weekend isn’t like other comedy groups. It’s filmmaking collaboration between besties Angelo Balassone, Michael Fails and Kat Tadesco, self-described lace-front addicts with great legs who write, direct, design and produce video sketches and cinematic shorts that are so surreally hilarious that they defy categorization. One such short film, Celebrity All-Star, is the newest addition to IFC’s Comedy Crib. Here’s what they had to say about it in a very personal email interview…

IFC_Comedy-Crib_Sisters-Weekend-Series-Image

IFC: How would you describe Celebrity All-Star to a fancy network executive you just met in an elevator?

Celebrity All-Star is a short film about an overworked reality TV coordinator struggling to save her one night off after the cast of C-List celebrities she wrangles gets locked out of their hotel rooms.

IFC: How would you describe Celebrity All-Star to a drunk friend of a friend you met in a bar?

Sisters Weekend: It’s this short we made for IFC where a talent coordinator named Karen babysits a bunch of weird c-list celebs who are stuck in a hotel bar. It’s everyone you hate from reality TV under one roof – and that roof leaks because it’s a 2-star hotel. There’s a magician, sexy cowboys, and a guy wearing a belt that sucks up his farts.

SistersWeekend_101_MPX-1920x1080

IFC: What was the genesis of Celebrity All-Star?

Celebrity All-Star was born from our love of embarrassing celebrities. We love a good c-lister in need of a paycheck! We were really interested in the canned politeness people give off when forced to mingle with strangers. The backstory we created is that the cast of this reality show called “Celebrity All-Star” is in the middle of a mandatory round of “get to know each other” drinks in the hotel bar when the room keys stop working. Shows like Celebrity Ghost Hunters and of course The Surreal Life were of inspo, but we thought it
was funny to keep it really vague what kind of show they’re on, and just focus on everyone’s diva antics after the cameras stop rolling.

IFC: Every celebrity in Celebrity All-Star seems familiar. What real-life pop personalities did you look to for inspiration?

Sisters Weekend: Anyone who is trying to plug their branded merch that no one asked for. We love low-rent celebrity. We did, however, directly reference Kylie Jenner’s turd-raison lip color for our fictional teen celebutante Gibby Kyle (played by Mary Houlihan).

IFC_Comedy-Crib_Sisters-Weekend_About-Image

IFC: Celebrity seems disgusting yet desirable. What’s your POV? Do you crave it, hate it, or both?

Sisters Weekend: A lot of people chase fame. If you’re practical, you’ll likely switch to chasing success and if you’re smart, you’ll hopefully switch to chasing happiness. But also, “We need money. We need hits. Hits bring money, money bring power, power bring fame, fame change the game,” Young Thug.

SistersWeekend_102_MPX-1920x1080

IFC: Who are your comedy idols?

Sisters Weekend: Mike grew up renting “Monty Python” tapes from the library and staying up late to watch 2000’s SNL, Kat was super into Andy Kaufman and “Kids In The Hall” in high school, and Angelo was heavily influenced by “Strangers With Candy” and Anna Faris in the Scary Movie franchise, so, our comedy heroes mesh from all over. But, also we idolize a lot of the people we work with in NY-  Lorelei Ramirez, Erin Markey, Mary Houlihan, who are all in the film, Amy Zimmer, Ana Fabrega, Patti Harrison, Sam Taggart. Geniuses! All of Em!

IFC: What’s your favorite moment from the film?

Sisters Weekend: I mean…seeing Mary Houlihan scream at an insane Pomeranian on an iPad is pretty great.

See Sisters Weekend right now on IFC’s Comedy Crib

Watch More
IFC_BVSS_203_birthday-song-celebration

Reality? Check.

Baroness For Life

Baroness von Sketch Show is available for immediate consumption.

Posted by on
GIFs via Giphy

Baroness von Sketch Show is snowballing as people have taken note of its subtle and not-so-subtle skewering of everyday life. The New York Times, W Magazine, and Vogue have heaped on the praise, but IFC had a few more probing questions…

IFC: To varying degrees, your sketches are simply scripted examples of things that actually happen. What makes real life so messed up?

Aurora: Hubris, Ego and Selfish Desires and lack of empathy.

Carolyn: That we’re trapped together in the 3rd Dimension.

Jenn: 1. Other people 2. Other people’s problems 3. Probably something I did.

IFC: A lot of people I know have watched this show and realized, “Dear god, that’s me.” or “Dear god, that’s true.” Why do people have their blinders on?

Aurora: Because most people when you’re in the middle of a situation, you don’t have the perspective to step back and see yourself because you’re caught up in the moment. That’s the job of comedians is to step back and have a self-awareness about these things, not only saying “You’re doing this,” but also, “You’re not the only one doing this.” It’s a delicate balance of making people feel uncomfortable and comforting them at the same time.

via GIPHY

IFC: Unlike a lot of popular sketch comedy, your sketches often focus more on group dynamics vs iconic individual characters. Why do you think that is and why is it important?

Meredith: We consider the show to be more based around human dynamics, not so much characters. If anything we’re more attracted to the energy created by people interacting.

Jenn: So much of life is spent trying to work it out with other people, whether it’s at work, at home, trying to commute to work, or even on Facebook it’s pretty hard to escape the group.

IFC: Are there any comedians out there that you feel are just nailing it?

Aurora: I love Key and Peele. I know that their show is done and I’m in denial about it, but they are amazing because there were many times that I would imagine that Keegan Michael Key was in the scene while writing. If I could picture him saying it, I knew it would work. I also kind of have a crush on Jordan Peele and his performance in Big Mouth. Maya Rudolph also just makes everything amazing. Her puberty demon on Big Mouth is flawless. She did an ad for 7th generation tampons that my son, my husband and myself were singing around the house for weeks. If I could even get anything close to her career, I would be happy. I’m also back in love with Rick and Morty. I don’t know if I have a crush on Justin Roiland, I just really love Rick (maybe even more than Morty). I don’t have a crush on Jerry, the dad, but I have a crush on Chris Parnell because he’s so good at being Jerry.

Jenn: I LOVE ISSA RAE!

via GIPHY

IFC: If you could go back in time and cast yourselves in any sitcom, which would it be and how would it change?

Carolyn: I’d go back in time and cast us in The Partridge Family.  We’d make an excellent family band. We’d have a laugh, break into song and wear ruffled blouses with velvet jackets.  And of course travel to all our gigs on a Mondrian bus. I feel really confident about this choice.

Meredith: Electric Mayhem from The Muppet Show. It wouldn’t change, they were simply perfect, except… maybe a few more vaginas in the band.

Binge the entire first and second seasons of Baroness von Sketch Show now on IFC.com and the IFC app.

Watch More