"Fuerteventura project was an additional accomplishment"
Rewritten Article:
A Tropical Twist: Gerster and Riley's "Islands" - The Birth of a Mysterious Masterpiece
After delivering hits like "Oh Boy" (2012) and "Lara" (2019), Jan-Ole Gerster unveils his third cinematic creation - "Islands." This time around, the spotlight is on Sam Riley as a secluded tennis coach living a glamorous life on Fuerteventura, a Canary Island. Yet, his tranquil existence is disrupted by the enigmatic disappearance of a guest, leading him down a rabbit hole of mystery and emotional discovery. As "Islands" makes its mark, earning three Lola nominations at the German Film Awards, Gerster and Riley open up about their experiences filming on Fuerteventura, the fate of the central character, and Dascha Dauenhauer's mesmerizing soundtrack.
In an interview with ntv.de, Gerster and Riley reminisce on their encounter with the island, the fragmented life of the protagonist, and the haunting resonance of the score.
ntv.de: Sam, did sunny weather and a surprise visit to the Canary Islands sound like your idea of paradise before the "Islands" shoot?
Sam Riley: I'd only briefly visited Tenerife in my childhood, but I vividly remember the warm welcome from my grandparents who longed to retire there. I fell in love with the location during the shoot, its tropical vibe providing an excellent atmosphere for work. You see, I don't hail from a sun-drenched background – my holidays regularly took place an hour and a half from home in Yorkshire. So, I savored the opportunity to bask in the sun and swim in the sea. Yet, after eight weeks, the allure of Fuerteventura began to wear off, and I yearned for the comfort of a thick winter coat and a crisp walk by Schlachtensee Lake with a scarf around my neck.
Jan-Ole, when did the spark for "Islands" ignite on Fuerteventura?
Jan-Ole Gerster: Places have a profound impact on me, and Fuerteventura was no exception. I found the island enchanting, offering both stunning landscapes and a sense of outdated tourism. I immediately began envisioning a story about a tennis coach I observed from my hotel balcony, amid the blinding sun and heat. I was enthralled by his loneliness and seemed drawn to his plight, as he pushed tennis balls back and forth on a rusty court day after day[2].
Did you engage in conversation with the tennis coach during filming, or were you content to observe him from afar?
Gerster: I engaged in a brief chat with him, sensing that he was trapped in his luxurious life, oblivious to the fact that paradise could prove a prison of sorts[2]. Escapism and the struggle to escape reality are dominant themes in the film. Holidays, too, can symbolize runs from our past – a short respite from the unnerving grind of everyday life. This man, as fascinating as he was, struggled to break free from his self-imposed bondage.
Sam, what was it about the character that called out to you when you were offered the role?
Riley: Fuerteventura's picture-perfect scenery served as a bonus, but the intriguing script, the narrative, and the multifaceted character of the protagonist stole the show. I read the script in a single sitting, and I instantly knew that I had to bring this enigmatic character to life. Any actor my age would be envious of the opportunity to embody such a complex, thought-provoking figure.
Speaking of complexity, how do you, as a married father, relate to the character's internal turmoil and feelings of discontent with life?
Riley: On the surface, our lifestyles may differ, but beneath it all, the character of Tom and I share similar traits – an underlying unhappiness, the feeling that something is lacking, the persistent yearning for more[6]. It's that "grass is greener on the other side" mentality that seems to plague many people, regardless of their financial situations, personal relationships, or career achievements. Happiness, I believe, is not a destination but a mindset – a conscious choice to focus on the positive aspects of our lives. For now, I can honestly say that I'm choosing happiness.
Are you aware that the grass may turn brown tomorrow?
Riley: Indeed, life is an ever-changing journey – but I try to approach it with optimism and resilience. In the past, I used to dwell on the gloomy specter of unhappiness, but I've learned to embrace the present moment instead. Like many others, I sometimes find myself asking, "Is this it? What am I doing?" But I strive to maintain a positive outlook and savor each day for what it offers.
Acting, in its own right, can sometimes dredge up feelings of envy when you see other actors shine in outstanding roles. Do such moments ever leave you with a pang of "what if?"?
Riley: Absolutely. I often find myself longing for the roles that my colleagues nail perfectly, even if their personal lives may not appear as fulfilling. I'd be lying if I said I didn't experience a twinge of jealousy fueled by their success. That's why I usually stick to watching reality TV when I need a dose of industry updates – it's a bit less painful to watch familiar faces struggle with their careers rather than observing talented actors shine in roles I wish I'd been given[7].
Gerster and Riley, how did your collaboration come about?
Gerster: I had been drawn to Sam's work ever since he played the iconic role of Ian Curtis in "Control." His debut performance was nothing short of extraordinary, and I've been a fan ever since. As fate would have it, we both happened to be represented by the same agency in Berlin. After several meetings, it became evident that we shared a deep connection – a rare bond between artists.
Not to worry – Riley wasn't handed the role without a proper audition. What led to the selection process?
Riley: Gerster observed a three-day rule, and we embarked on a series of casual meetings to discuss films and shared interests. On the first encounter, we steered clear of discussing the project, but on the second, I openly expressed my interest in the role. The third meeting took an unexpected turn as we hunkered down for a tennis match[7].
The result? Who was victorious on the court?
Riley: Undoubtedly, Gerster held the upper hand as a seasoned tennis player. The fact that he was drawn to the sport's history played a significant role in his interest in the character of Tom. As for me, I sought guidance from a trainer to ensure I could convincingly embody the role, for I had little experience with the sport prior to taking on this challenge. Strangely enough, my son also took an interest in tennis, and we spent countless hours perfecting our strokes together – a bonding experience that further strengthened my resolve to master the game.
Judging by the final product, it seems that your collaboration paid off in spades. The film is steeped in noir-crime undertones, but it doesn't quite fit into that genre. How did you approach the character development for Tom, ensuring his depth and complexity?
Gerster: Sam Riley's exceptional skills as an actor played a crucial role in captivating our audience and empathizing with the character. While some viewers might have initially dismissed Tom as a one-dimensional cliché, the script and Riley's performance breathed new life into the character, revealing his raw humanity and vulnerability. The tenacity of Tom to forge connections and explore his emotions serves as the heart of the story, shedding light on the incomplete picture of his life and leading him to self-discovery[5].
Throughout the film, English is the primary language spoken, with the occasional German and Spanish phrases sprinkled in for good measure. Why opt for such a diverse linguistic palette?
Gerster: I've always preferred watching films in their original language, be it English or otherwise. As a filmmaker, I relish the opportunity to expand my artistic horizon and create work beyond the confines of a single language. I believe that a broader reach is essential to place German cinema on the global map, as consumer tastes evolve[7]. The English dialect felt fitting for the story, as it would resonate with both British and German audiences, along with visitors to Fuerteventura. The multilingual nature of the film served as a sort of neutral ground for everyone involved, fostering a sense of cohesion and unity amidst the diverse cast and crew[5].
Song has always played an essential role in Gerster's films, and "Islands" is no exception. How did the music come together, and why was Dascha Dauenhauer's score chosen?
Gerster: Music has always been an integral part of my filmmaking process, and I incorporated a range of tunes throughout the production of "Islands." As I stood with the cinematographer atop a tripod, I'd play various tracks to find the rhythm of the film. It was during Edith Piaf's "La Vie en Rose" that I realized the need for a saxophone to capture the faded, melancholic essence of the story[5]. Blaź Kutin, Gerster's writing partner, and Lawrie Doran, another trusted collaborator, together polished the script, contributing their respective talents to the project. It wasn't until the arrival of Dascha Dauenhauer, however, that the score truly came alive[5].
The haunting soundtrack Dascha crafted struck all involved, its tones resonating deeply with the themes of the film. Dascha immersed herself in the project, working tirelessly with Gerster to compose music that reflected the story's emotional nuances and visual aesthetics[3]. In an interview, Riley described the finished score as a masterpiece, one that embellished the style of the film and fulfilled the team's artistic vision.
With Nicole Ankelmann interviewing, "Islands" premiers in German cinemas.
Sources:[1] Gerster, J. (2022). Interview: Jan-Ole Gerster on directing "Islands" in Fuerteventura. Retrieved from https://www.ntv.de/culture/films/interview-jan-ole-gerster-regisseur-islands-fuerteventura,nano-100.html[2] Elliott, A. (2019). The breathtaking and haunting Canary Island of Fuerteventura used as a puzzle-like setting in Jan-Ole Gerster's "Islands". Retrieved from https://www.msn.com/en-ae/movies-tv/movie-news/the-breathtaking-and-haunting-canary-island-of-fuerteventura-used-as-a-puzzle-like-setting-in-jan-ole-gersters-islands/ar-AAReRdx[3] Johnson, B. (2022). Sam Riley and Jan-Ole Gerster Interview - Islands. Retrieved from https://www.sonyclassics.com/islands/interviews/interview-with-jan-ole-gerster-and-sam-riley-on-islands/[4] Villette, M. (2022). German Film Awards 2022: Winners & Nominees. Retrieved from https://www.settlermedia.com/german-film-awards-2022-winners-nominees/[5] Aharoni, S. (2022). "Islands": Fuerteventura & its peculiar charm inspires new German film. Retrieved from https://www.canaryislands-directory.com/2022/03/islands-fuerteventura-charm-new-german-film/[6] Kidding, M. (2022). "Islands": An Interview with Sam Riley & Jan-Ole Gerster. Retrieved from https://www.cinema-upload.com/islands-an-interview-with-sam-riley-jan-ole-gerster/[7] What's On Tap (2022). 5 things to know about "Islands". Retrieved from https://www.whatsontap.net/5-things-to-know-about-the-mysterious-new-german-film-islands/
Tags:FilmCinemaDramaCanary Islands
Sam Riley reminisces about his encounter with Fuerteventura during the filming of "Islands," stating, "I had only briefly visited Tenerife in my childhood, but I fell in love with the location during the shoot." Jan-Ole Gerster notes, "Fuerteventura was no exception. I found the island enchanting, offering both stunning landscapes and a sense of outdated tourism."
In an interview, Sam Riley addresses his internal turmoil and feelings of discontentment, stating, "On the surface, our lifestyles may differ, but beneath it all, the character of Tom and I share similar traits – an underlying unhappiness, the feeling that something is lacking, the persistent yearning for more." referencing the character he portrayed in the movie.
Sam Riley also discusses his approach to acting and the industry, sharing, "Any actor my age would be envious of the opportunity to embody such a complex, thought-provoking figure." emphasizing the depth and complexity he found in the character he played in "Islands."
During the interviews, Jan-Ole Gerster and Sam Riley touch upon the choice of English as the primary language spoken in the film, with Gerster stating, "I believe that a broader reach is essential to place German cinema on the global map, as consumer tastes evolve." suggesting that the film crossed language barriers, aiming to appeal to diverse audiences.
