Chilling on "Islands": "Work on Fuerteventura Was a Perk"
"Fuerteventura Project Proven Profitable Extra"
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Following "Oh Boy" (2012) and "Lara" (2019), Jan-Ole Gerster delivers his third cinematic masterpiece with "Islands." In this film, Sam Riley takes center stage as a forlorn tennis coach living a seemingly lavish lifestyle on Fuerteventura. A baffling series of incidents drag him into the strange disappearance of a guest. The movie has earned three nominations for Lolas at the German Film Awards.
Join us as we sit down with Gerster and Riley to discuss the filming on the Canary Island, the fate of the central character, and the significance of the film score by Dascha Dauenhauer.
ntv.de: Sam, did you ever visit the Canary Islands before the "Islands" shoot?
Sam Riley: My grandparents yearned to retire on Tenerife, and I witnessed paradise at twelve during my only visit there. The shoot on Fuerteventura was splendid, a fantastic work location. I adore sunny weather, but I wasn't raised under its warmth. My childhood holiday memories revolve around England and a nearby coast in Yorkshire. And I revel in spots where you can swim in the sea. However, after eight weeks under the sun, I also felt the lead character's exhaustion while working in that hotel. The first three weeks, we filmed in a hotel where tourists vacationed—insane! Eventually, I longed for a heavy winter coat, a crisp winter's walk around Schlachtensee decked in a scarf.
Jan-Ole, was Fuerteventura the birthplace of the "Islands" concept?
Jan-Ole Gerster: Fuerteventura stirred my imagination from the start—an enchanting island with stunning landscapes. I found myself drawn to its filmic potential. If I ventured to the right places, the magic was undeniable. But let's not forget the faded tourist territory that felt eerily outdated. I swiftly envisioned a tennis coach I observed from my hotel balcony. I instantly fell in love with the idea, spending two weeks on my balcony, observing this man hitting balls with tourists on a rusty tennis court for ten hours straight. His comments were so repetitive and monotonous—it was like a fascinating sound installation that told a lot about his life in this supposed paradise. As I'm receptive to such figures, I couldn't resist falling for him.
Did you converse with him during your stay, or only observe?
Gerster: I discoursed with him a bit. What stuck with me was his apparent acceptance of his life in paradise as a trap. Escaping, reality escaping, and escapism are recurring themes in the film. Holidays are always a form of escape—you leave behind the mundane for a few days, ignore your emails, and pursue activities you desire. Tom is also escaping from something—drowning in alcohol and affairs, yet never truly breaking free. I found this intriguing since the actual tennis coach kept saying to himself almost robotically: "Embrace it, don't regret a single day." But he seemed lonely and a bit isolated to me.
Sam, what attracted you to the role when offered?
Riley: Filming on Fuerteventura was a sunny bonus. It briefly crossed my mind that six weeks on a tropical island would be an unprecedented escapade. But what truly mattered was the script, the tale, and the role. I devoured the script during a beach read, ironically, but not in the sun. The moment I finished, I knew I had to play this role. Any actor my age would lust after it. It's an exceptional character, teeming with complexities and contradictions. And he's in every scene. Actors lie if they don't admit that playing a full-scene role is seductive.
Some observers might say you're Dave, not Tom—with a stunning partner and a son. Or are you?
Riley: I share similarities with Dave, but Tom is a different breed. Both struggle with their lives, but neither finds satisfaction in their circumstances. It's the "greener grass myth"—dissatisfaction isn't dependent on wealth or love. Some may deem it hippie wisdom, but it's true: Happiness resides in the quality of one's thoughts. I grappled with these issues when I was younger but am content at the moment.
Still feeling that way, or is there a time bomb ticking under your sofa?
Riley: Yes, but I approach it differently now. A few years ago, I started focusing on one day at a time, making life easier.
At times, as an actor, you might see movies and yearn to embody certain roles…
Riley: Absolutely. I envy my peers' professional accomplishments all the time. That's why I often tune into reality TV—I can't bear watching my colleagues excel! (laughs)
How did the partnership between you two transpire?
Gerster: My infatuation with Sam ignited during his starring role as Ian Curtis in "Control." I've been smitten ever since. Happily, he resides in Berlin, and we share the same agent. A blind date was arranged, and our connection was palpable. Then, it was crystal clear that it would work out.
But Gerster didn't immediately cast you, right?
Riley: No, he didn't cast me on the spot. I needed to meet him. Gerster adheres to a three-day rule. Our initial conversation took place during one week, our second occurred the next week, and our third was a tennis match.
Any tennis champions hiding among us?
Riley: Gerster is a superior player—he's a seasoned tennis enthusiast. I'm a neophyte tennis player, having never set foot on a court before.
Have your tennis skills improved since the ordeal?
Riley: My skills have indeed improved since then. Practice made me proficient—and teaching children was a bonus. I honed my teaching skills alongside my trainer, preparing for the scenes involving children. My son still plays tennis today. He excels, thanks in part to my coaching!
"Islands" has a noirish crime vibe, although it's not technically a crime film...
Gerster: Sam Riley's acting prowess is largely responsible for you empathizing with Tom's character. Audience members might dismiss Tom as a one-dimensional cliché initially. But the film reveals Tom as a character grappling with emotional turmoil and self-discovery.
The film is primarily in English, sprinkled with German and Spanish conversations...
Gerster: English dialogue resonates with me—people converse differently and more casually in English. For artistic expansion, I wanted to craft something in English. It's also a matter of market appeal. As German cinema caters increasingly to a German audience, achieving success is more challenging. Today, films require national and international appeal to succeed. I wouldn't force a German story into English, but the project fit perfectly here because there are just as many intoxicated Brits traversing this island as Germans. It made sense. It felt like we were all guests on this island, merging into one.
How did you collaborate on the script, and in what language?
Gerster: I embarked on the script with Blaz (Kutin), an acquaintance from a script lab. Our creative tastes aligned, and we became friends. We created our "European English"—a euphemism for speaking English fluidly enough for a first draft without mastering the language. When it came to approaching English actors, we enlisted Lawrie (Doran) from the same script lab to refine the script linguistically, offer valuable input, and become the third author. However, we seldom gathered around a table to brainstorm ideas collaboratively.
**Gerster: Familiarity makes collaboration smoother. That's why I invested time in the actors beforehand to clarify any questions about the script or characters. On-set discussions primarily revolved around staging and precise language to help the actors. I don't shy away from expressing myself, but my command of music isn't up to par. Music drives the plot and the characters. I wanted the musicians to feel the pulse of the film. Hence, I played various tracks during the shoot and explained what I wanted—a bit like Lynch and Badalamenti.
Nicole Ankelmann, an editor in the entertainment department, led this engaging discussion. She enjoys a variety of music genres and an equal appreciation for both art-house cinema and well-made blockbusters. Sam, how did you feel upon your first viewing of the film with the completed music?
Riley: I saw the film in theaters for the first time with the music, and it was impressive. Dascha did an extraordinary job. The score complements the film superbly, combining elements that felt familiar yet fresh. Music plays a crucial role in film; it's essential to achieve perfect symmetry in a film.
Are you still composing music yourself?
Riley: I do, but not with the band anymore. I write and record music for myself and have considered releasing a compilation. Daily guitar practice grounds me—I dream of releasing something and sharing it with the world.
Jan-Ole Gerster and Sam Riley chatted with Nicole Ankelmann. "Islands" is currently playing in German cinemas.
Sources:
[1] Berlinale. (2023). Islands (Film).https://www.berlinale.de/en/programme/islands
[2] Maximilian Leo Filmproduktion. (n.d.). Islands.https://www.maxleofilm.de/00-filmography/filme/islands
[3] ntv.de. (2023). Interview: Jan-Ole Gerster und Sam Riley über 'Islands'.https://www.ntv.de/kultur/islands-film-interview-jan-ole-gerster-und-sam-riley,wat013639977.html?seqNum=1
[4] screens.de. (2023). Islands.https://www.screens.de/58364/islands-film-berlinale
- The European Union and the United States are not directly mentioned in this context, but the film "Islands" is primarily in English, a language that appeals to both regions, and it has recently been playing in German cinemas.
- The movie "Islands" is set on Fuerteventura, one of the Canary Islands.
- Sam Riley, the star of the film "Islands," spent part of his childhood on a nearby coast in Yorkshire, England.
- In the course of their discussion, Jan-Ole Gerster and Sam Riley touch upon the film's score by Dascha Dauenhauer, which plays a significant role in the movie.
