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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)

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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.

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Bro and Tell

BFFs And Night Court For Sports

Bromance and Comeuppance On Two New Comedy Crib Series

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“Silicon Valley meets Girls meets black male educators with lots of unrealized potential.”

That’s how Carl Foreman Jr. and Anthony Gaskins categorize their new series Frank and Lamar which joins Joe Schiappa’s Sport Court in the latest wave of new series available now on IFC’s Comedy Crib. To better acquaint you with the newbies, we went right to the creators for their candid POVs. And they did not disappoint. Here are snippets of their interviews:

Frank and Lamar

via GIPHY

IFC: How would you describe Frank and Lamar to a fancy network executive you met in an elevator?
Carl: Best bros from college live and work together teaching at a fancy Manhattan private school, valiantly trying to transition into a more mature phase of personal and professional life while clinging to their boyish ways.

IFC: And to a friend of a friend you met in a bar?
Carl: The same way, slightly less coherent.

Anthony: I’d probably speak about it with much louder volume, due to the bar which would probably be playing the new Kendrick Lamar album. I might also include additional jokes about Carl, or unrelated political tangents.

Carl: He really delights in randomly slandering me for no reason. I get him back though. Our rapport on the page, screen, and in real life, comes out of a lot of that back and forth.

IFC: In what way is Frank and Lamar a poignant series for this moment in time?
Carl: It tells a story I feel most people aren’t familiar with, having young black males teach in a very affluent white world, while never making it expressly about that either. Then in tackling their personal lives, we see these three-dimensional guys navigate a pivotal moment in time from a perspective I feel mainstream audiences tend not to see portrayed.

Anthony: I feel like Frank and Lamar continues to push the envelope within the genre by presenting interesting and non stereotypical content about people of color. The fact that this show brought together so many talented creative people, from the cast and crew to the producers, who believe in the project, makes the work that much more intentional and truthful. I also think it’s pretty incredible that we got to employ many of our friends!

Sport Court

Sport Court gavel

IFC: How would you describe Sport Court to a fancy network executive you met in an elevator?
Joe: SPORT COURT follows Judge David Linda, a circuit court judge assigned to handle an ad hoc courtroom put together to prosecute rowdy fan behavior in the basement of the Hartford Ultradome. Think an updated Night Court.

IFC: How would you describe Sport Court to drunk friend of a friend you met in a bar?
Joe: Remember when you put those firecrackers down that guy’s pants at the baseball game? It’s about a judge who works in a court in the stadium that puts you in jail right then and there. I know, you actually did spend the night in jail, but imagine you went to court right that second and didn’t have to get your brother to take off work from GameStop to take you to your hearing.

IFC: Is there a method to your madness when coming up with sports fan faux pas?
Joe: I just think of the worst things that would ruin a sporting event for everyone. Peeing in the slushy machine in open view of a crowd seemed like a good one.

IFC: Honestly now, how many of the fan transgressions are things you’ve done or thought about doing?
Joe: I’ve thought about ripping out a whole row of chairs at a theater or stadium, so I would have my own private space. I like to think of that really whenever I have to sit crammed next to lots of people. Imagine the leg room!

Check out the full seasons of Frank and Lamar and Sport Court now on IFC’s Comedy Crib.

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Millennial Wisdom

Charles Speaks For Us All

Get to know Charles, the social media whiz of Brockmire.

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He may be an unlikely radio producer Brockmire, but Charles is #1 when it comes to delivering quips that tie a nice little bow on the absurdity of any given situation.

Charles also perfectly captures the jaded outlook of Millennials. Or at least Millennials as mythologized by marketers and news idiots. You know who you are.

Played superbly by Tyrel Jackson Williams, Charles’s quippy nuggets target just about any subject matter, from entry-level jobs in social media (“I plan on getting some experience here, then moving to New York to finally start my life.”) to the ramifications of fictional celebrity hookups (“Drake and Taylor Swift are dating! Albums y’all!”). But where he really nails the whole Millennial POV thing is when he comments on America’s second favorite past-time after type II diabetes: baseball.

Here are a few pearls.

On Baseball’s Lasting Cultural Relevance

“Baseball’s one of those old-timey things you don’t need anymore. Like cursive. Or email.”

On The Dramatic Value Of Double-Headers

“The only thing dumber than playing two boring-ass baseball games in one day is putting a two-hour delay between the boring-ass games.”

On Sartorial Tradition

“Is dressing badly just a thing for baseball, because that would explain his jacket.”

On Baseball, In A Nutshell

“Baseball is a f-cked up sport, and I want you to know it.”


Learn more about Charles in the behind-the-scenes video below.

And if you were born before the late ’80s and want to know what the kids think about Baseball, watch Brockmire Wednesdays at 10P on IFC.

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Crown Jules

Amanda Peet FTW on Brockmire

Amanda Peet brings it on Brockmire Wednesday at 10P on IFC.

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GIFS via Giphy

On Brockmire, Jules is the unexpected yin to Jim Brockmire’s yang. Which is saying a lot, because Brockmire’s yang is way out there. Played by Amanda Peet, Jules is hard-drinking, truth-spewing, baseball-loving…everything Brockmire is, and perhaps what he never expected to encounter in another human.

“We’re the same level of functional alcoholic.”


But Jules takes that commonality and transforms it into something special: a new beginning. A new beginning for failing minor league baseball team “The Frackers”, who suddenly about-face into a winning streak; and a new beginning for Brockmire, whose life gets a jumpstart when Jules lures him back to baseball. As for herself, her unexpected connection with Brockmire gives her own life a surprising and much needed goose.

“You’re a Goddamn Disaster and you’re starting To look good to me.”

This palpable dynamic adds depth and complexity to the narrative and pushes the series far beyond expected comedy. See for yourself in this behind-the-scenes video (and brace yourself for a unforgettable description of Brockmire’s genitals)…

Want more about Amanda Peet? She’s all over the place, and has even penned a recent self-reflective piece in the New York Times.

And of course you can watch the Jim-Jules relationship hysterically unfold in new episodes of Brockmire, every Wednesday at 10PM on IFC.

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