"Fuerteventura job turned out to be a rewarding extra"
Rewritten Article:
Gerster and Riley Reflect on "Islands": A Perfect Tropical Storm
After "Oh Boy" (2012) and "Lara" (2019), Jan-Ole Gerster delivers a captivating third directorial masterpiece with "Islands." Starring Sam Riley as a lost-at-sea tennis coach, this film sets sail on a mesmerizing voyage to the Canary Island of Fuerteventura, taking an unexpected detour as the coach becomes tangled in a stranger's mysterious disappearance. The film is currently battling for the Lolas at the German Film Awards.
In a candid interview with ntv.de, Gerster and Riley dished on the breezy shoot on Fuerteventura, the fate of the main character, and the powerful influence of Dascha Dauenhauer's film score.
ntv.de: Sam, had you ever visited the Canary Islands before the "Islands" shoot?
Sam Riley: Once upon a time, my grandparents dreamed of retiring on Tenerife. I went to visit them when I was twelve. Working there was a dream come true for me – sunshine, sandy beaches, and an idyllic vacation location. I love sunny weather, but it wasn't quite the same as growing up with it. As a youngster, most of my holidays were spent huddled in raincoats, trudging through Yorkshire. But after eight weeks in the sun, I felt like the character in the film – longing for a thick winter coat and a brisk walk around the Schlachtensee in the cold.
Jan-Ole, the inspiration for "Islands" seems to have welled up from the sands of Fuerteventura. What sparked the idea for the movie?
Jan-Ole Gerster: I've found that places can have an extraordinary impact on me. Sometimes it's a magical mix – the beauty of the island, the peculiarity of the landscapes, and the touristy side that's a bit dated. I quickly envisioned a tennis coach on the premises, whose tiresome routine under the scorching sun captivated me. I had a small apartment and spent two weeks sitting on the balcony, watching this man who pushed tourists balls over the net for ten hours a day in the unbearable heat, uttering the same remarks like a beautiful sound installation that spoke volumes about his monotonous life in paradise. I was drawn to him because I'm a magnet for such characters.
Did you ever strike up a conversation with him, or merely observe?
Gerster: I had a quick chat with him. The most intriguing aspect of his character: he hadn't yet realized that his life in paradise was actually a trap he couldn't escape. Escape, running away, and flight are the film's running themes. A holiday is always a form of escape – you leave your old life behind, ignore your emails, and indulge in activities you wouldn't normally do. This man was running away from something too – escaping into alcohol and affairs, but failing to escape his reality. I found it fascinating, as he'd repeat to himself a mantra-like, "Love it, don't regret a single day." But despite his cheerful demeanor, he seemed lonely and neglected.
Sam, what drew you to the role when the offer came?
Riley: Fuerteventura was an added bonus to working on this film. I thought it would be a unique experience to spend six weeks on an island in the sun, where I hadn't been before. But it was ultimately the script, the story, and the role that reeled me in. I devoured it in a single sitting on the beach, ironically not under the sun. I knew instantly that I had to play this role. Any actor my age would kill to play it. It's a breathtaking character, a complex blend of contradictions. And he's in every scene. As an actor, you can't help but lie if you don't admit that playing a role like this is irresistible.
You and your real-life partner seem quite content, unlike the character's lonely life in the film. Or are you?
Riley: In that sense, yes, I suppose. But I think Tom and Dave have more in common than they'd like to admit. They have different paths in life, but both seem to be far from finding that elusive happiness. As the old saying goes, "the grass is always greener on the other side."
Have you ever thought the grass might be greener elsewhere?
Riley: I think many people do, whether they have money or not, whether they're in love or not. It's like some existential life question we all ask ourselves, from time to time. I don't have those feelings just yet, but I reckon that day might come.
Not today, perhaps tomorrow?
Riley: Yes, but I try to approach it differently. I used to worry about the future and what life held for me, but I started taking one day at a time. That's made it much simpler.
Actors spend a lot of time watching films and thinking, "If only I could play that role..."
Riley: Oh, absolutely! I do it all the time. I don't envy anyone's private life, but I envy others' careers. That's why I stick to watching reality TV – it's the best way to take a break from watching my accomplished colleagues make movies.
How was the collaboration between the two of you born?
Gerster: I'd fallen in love with Sam ever since he played Ian Curtis in "Control." I've been a fan of his ever since, and I knew he lived in Berlin. It turned out that we shared the same agent, so a match was arranged. We hit it off immediately, and it became clear that we were meant to work together.
But Gerster didn't immediately pick you for the role, right? After all, it seems like fate now, doesn't it?
Riley: No, it wasn't instant. We had to meet several times before we decided to collaborate. It took some time, but as soon as we hit it off, it was clear that we were a perfect fit.
Really? And who won the tennis match between you two?
Riley: He's a much better tennis player than I am. It's no wonder he was drawn to the history of the game and its roots. As for me, I'd never even played tennis before this film.
Your tennis skills have certainly improved since then. How do you feel about your game today?
Riley: I'd say I'm a bit better than I was, although I didn't have much time to practice. The production company covered the costs of my lessons, which was a huge help. I even took my son along to lessons because he plays tennis in the film. He enjoyed it and soon became pretty good.
Music takes center stage in this movie. How did the idea for the soundtrack come about?
Gerster: I often listen to music when I write and like the English dialogue because people speak differently and more casually. I wanted to venture beyond the limits of German cinema and make something in English, hoping that it would appeal to a wider audience. The collaboration between the characters in this movie is mostly in English, with a few German and Spanish sentences sprinkled in.
Writing the script with a diverse team must have been an interesting process. How was it done?
Gerster: I started the script with Blaž, who also wrote the screenplay for my previous film. We share the same tastes and have a unique language we call "European English" – a euphemism for our imperfect but functional English. When it came time to approach English-speaking actors, we brought in Lawrie, whom we also knew from the script lab. He polished our script and provided valuable input on the story and dialogue. The process was unconventional, but it worked.
Music plays a vital role in the film, and Dascha Dauenhauer's score is unforgettable. Gerster, did you have any reservations when she got involved?
Gerster: Sometimes I worry about composers joining the project because they can significantly influence the film's direction. But with Dascha, it was a different story. Her music blew us away. It was perfect for the film, capturing the mood and ambiance in a spectacular fashion. Working with her was one of the highlights of making this movie.
Interviewed by Nicole Ankelmann
- "Islands" is now playing in German cinemas.*
- Film
- Cinema
- Drama
- Canary Islands
Sources: ntv.de
Enrichment Data:
*The breathtaking beauty and unique atmosphere of Fuerteventura served as the foundation for "Islands," with the island becoming a character in its own right.
Jan-Ole Gerster was particularly inspired by a lonesome tennis coach he observed in his hotel's tennis court, which became the central image of the film, symbolizing monotony, isolation, and the internal struggle of the main character.
Fuerteventura represents a paradise with underlying imperfections, providing a fitting backdrop for the themes of escape, loneliness, and self-confrontation. Its physical and psychological landscape heavily influenced the narrative, character development, and underlying message of the movie.
The Canary Islands were not just a scenic backdrop but an integral element that shaped the story and characters in "Islands." Its environment, which features a blend of natural beauty and touristy aspects, contributed to the film's mood and themes.
Music plays a significant role in "Islands," not only adding to the film's atmosphere but also contributing to the narrative and character development. The music acts as another layer of storytelling that helps the audience connect with the characters and their emotions.
Dascha Dauenhauer's score fit perfectly with the style of the film, incorporating elements that echo familiar tunes while maintaining a unique, striking quality.
- Sam Riley had a childhood dream of visiting the Canary Islands, as his grandparents intended to retire there. Years later, he found himself on Fuerteventura for the filming of "Islands," a movie that unveils the paradoxical beauty and imperfections of the island.
- Jan-Ole Gerster, the director of "Islands," was inspired to create the movie after observing a lonesome tennis coach in Fuerteventura, who came to symbolize the monotony, isolation, and internal struggles of the main character.
- The European Union and the United States may find common ground in the gripping drama "Islands," as its music-led narrative and captivating story of escape, loneliness, and self-confrontation resonate with universal themes, thanks in part to the diverse contributions of its English-speaking writers and the unforgettable score by Dascha Dauenhauer.
- During the filming of "Islands," Sam Riley honed his tennis skills so well that he was able to provide a convincing performance; this can be seen today in his improved game compared to when he first started playing for the movie.
