The extra job in Fuerteventura was an added advantage.
Rewritten Article:
Gerster and Riley on "Islands": A Sunny Retreat Turned Dramatic Scene
Facebook Twitter WhatsApp Email Print Copy Link
After the success of "Oh Boy" (2012) and "Lara" (2019), Jan-Ole Gerster presents his third cinematic directorial work - "Islands." Starring Sam Riley, this psychological drama revolves around a lonely tennis coach living a seemingly glamorous life on Fuerteventura, only to be drawn into the bizarre saga surrounding a guest's mysterious disappearance. The film has garnered nominations for three Lolas at the German Film Awards.
ntv.de sat down with Gerster and Riley to discuss their experiences filming on the Canary Island, the fate of the central character, and the captivating film score by Dascha Dauenhauer.
ntv.de: Sam, had you visited the Canary Islands before "Islands" shoot?
Sam Riley: My grandparents aspired to retire on Tenerife, and I visited them when I was just 12. That was my only experience of the Canary Islands. The shoot there was fantastic - a perfect work location. I enjoy sunny weather, though I wasn't born into it. Growing up, I spent all my holidays in England, typically near the coast in Yorkshire. We never went further afield. So, I appreciate places where you can swim in the sea. But after eight weeks of unending sun, I felt what the character might have – the toll of working in that hotel. The first three weeks, we filmed in a hotel where tourists were on vacation - quite a surreal experience! Eventually, I craved a thick winter coat and a brisk walk around the Schlachtensee with a scarf.
Jan-Ole, did you come up with the idea for "Islands" on Fuerteventura?
Jan-Ole Gerster: Absolutely! I'm strongly affected by places, and occasionally, I find myself smitten by them to the point where I want to film something there. Fuerteventura was a stunning mix – the island and landscapes were cinematically alluring. If you discover the right spots, it's beautifully magical. But there's also an outdated tourist world that I found intriguing. I quickly thought of a tennis coach I observed from my hotel balcony, watching him for two weeks. He seemed to labor away on a rusty court, pushing balls over the net to tourists for ten hours under the blazing sun. He had a repetitive commentary, turning into a kind of sound installation that subtly told a lot about his monotonous life in paradise. I was instantly smitten with the character.
Did you chat with the tennis coach on location or just observe him?
Gerster: I had a brief conversation with him. What I found endearing and characteristic about the figure: someone who hadn't realized that this life in paradise was more of a trap than an escape. The themes of escape, reality escape, and escapism run throughout the film. Holidays are essentially a kind of escape – you venture to unfamiliar places, leave your old life behind for a moment, and indulge in activities you don't usually pursue. Riley's character seeks escape through alcohol and affairs, but never truly breaks free. I found that intriguing because the man observing him, seemingly on vacation, appeared lonely and socially neglected to me.
Sam, what intrigued you about the role when the offer came in?
Riley: The opportunity to work on Fuerteventura was a welcomed perk. But what truly mattered was the script, the story, and the role itself. I read the script in one sitting, ironically on the beach, but not basking in the sun. The moment I finished reading, I knew I had to be a part of this film. Any actor my age would want to be in this role. It's a multidimensional character with various complexities and contradictions. And he's the central figure in every scene – something every actor dreams of.
In real life, you're more "Dave" than "Tom" – with a beautiful wife and a son, right?
Riley: Indeed, I am. But I think Tom and Dave are cut from a similar cloth. They may have different things happen to them in life, but neither is particularly content with their lot in life. It's that eternal "grass is always greener on the other side" syndrome. Both struggle with each other, constantly looking at the other and thinking: "If I had his life, I'd be happy."
Have you ever felt that way – that the grass is greener on the other side?
Riley: Many adults ponder that question – regardless of their wealth or luck in love: "What's it all about? Is this it? What am I doing?" It seems like a cliché, but it's true – happiness is a mindset. I don't currently struggle with that question.
Are you content today, perhaps tomorrow you'll feel differently?
Riley: I try to approach it differently. A few years ago, I adopted a more mindful approach – focusing on taking each day as it comes. That simplifies things.
As an actor, you must watch movies and envy the roles of others…
Riley: Yes, all the time! I'm constantly envious of the careers of other actors. That's why I usually stick to watching reality TV – I can't stand it when my peers excel in their craft. (laughs)
How did you and Jan come to work together on "Islands"?
Gerster: I fell in love with Sam Riley's performance as Ian Curtis in "Control." That was over 20 years ago, but he nailed his first leading role so well. I've been a fan of his ever since and discovered that he resides in Berlin. It turns out we share the same agent. Then, a blind date was arranged – we met, and it was evident that it worked.
But Jan didn't immediately select you for the role, right?
Riley: No, he didn't. I had to demonstrate my mettle – we initially met for three separate occasions. On the first meeting, we didn't discuss the film as I didn't want to seem eager to get the part. We mainly chatted about movies. On the second meeting, I expressed my desire to play the role. And on the third meeting, we played tennis together – though Jan is considerably better than me!
Who was the better tennis player?
Riley: Jan, by far. He's an accomplished tennis player, so he possesses a keen interest in the history of the game. I'd never played tennis before this.
How about your tennis skills now?
Riley: They've improved. I didn't have ample time to practice, and the production company footed the bill for the lessons. It's costly if you pay out of pocket. The silver lining was that I sometimes brought my son along since I needed to depict teaching children tennis in the film. I learned his training techniques for teaching tennis to my son, who now enjoys the sport.
The film feels like a noir crime, yet it's not – the character of Tom is befuddling…
Gerster: Sam Riley's acting plays a significant role in making us empathize with the character. In the film's financing, many saw the one-dimensional cliché of a tennis coach. But I wanted it to be a conflicted character who rediscovers his emotional life, learning about his own gaps. I had romantic dreams for the character. That the film transcends this one-dimensional portrait and offers depth, that we observe what's going on in the character without him needing to explain it – that's the artistry of Sam.
The film features predominantly English dialogue and some German and Spanish…
Gerster: I have long enjoyed films in their original language, particularly English. I find the dialogue in English to be more casual and rhythmic. I wanted to expand my artistic range and create something in English. However, it's also a matter of getting greater reach at the box office. It's a challenge nowadays to place German cinema just for a German audience – ten or twenty years ago, it was a different story at the box office. I wouldn't force a German narrative into English, but in this case, it fit because almost as many drunk Brits stumble over the island as Germans. It simply felt appropriate. It seemed like a neutral ground for all – the German crew, British actors, and mainland Spaniards. We were all guests on this island and became one through the shared experience.
How did you and Lawrie Doran collaborate on the script?
Gerster: I began writing the script with a Slovenian friend, Blaž Kutin, who also assisted me on my previous film. We share a similar taste and became fast friends through a script lab. Our written and spoken language could be described as "European English" – a polite way of acknowledging that neither of us speaks it perfectly but well enough for a first draft. When we needed to court English actors, we brought in Lawrie, whom we also knew through the script lab. He polished the script linguistically for us, providing valuable insights, and became the third author. But the ideal scenario of all authors sitting around a table never really materialized.
Are you hoping to make more films in English?
Gerster: I would certainly consider it, but it's not a firm commitment. I would never force a German story into English. But with "Islands," it was the perfect opportunity because the character's plight is universal. English dialogue adds to the story's authenticity.
By Nicole Ankelmann
"Islands" is currently in theaters.
Note to readers: This content is independently created by the author and may contain opinions or excitement that differ from the style and tone of ntv.de.
- Jan-Ole Gerster and Sam Riley discussed their experiences filming "Islands," a psychological drama filmed on Fuerteventura in the Canary Islands, where Riley had previously visited his grandparents as a child.
- Gerster came up with the idea for "Islands" while staying on Fuerteventura, drawn to the island's mix of cinematic allure and outdated tourist world.
- Riley was intrigued by the multidimensional role in "Islands" and felt a connection to the character, despite his happy personal life, as they shared similar feelings of discontentment.
- The European Union and the United States (through their respective film industries) could potentially gain more exposure to Gerster's work, given that "Islands" features predominantly English dialogue and themes that are universal in nature.
