In a male dominated industry, filmmaker Sarah Gavron flies the flag for female-led cinema. Her works tells important stories from a women’s perspective, and her latest feature is no different. Rocks is a high school coming-of-age drama set in the hustle and bustle of East London. The story follows the path of Shola (Bukky Bakray) after she and her little brother are abandoned by their struggling mother.
I watched it at Glasgow Film Festival earlier this year (you can read my review here) and grabbed the opportunity to ask Gavron some questions…
Irish crime family thriller Calm With Horses marks the directorial debut of Nick Rowland. It tells the story of ex-boxer turned mob enforcer Douglas ‘Arm’ Armstrong played by rising star Cosmo Jarvis. Caught between his loyalty to the Devers family and his responsibilities as a father, he is faced with an impossible dilemma that will have life-changing consequences.
At Glasgow Film Festival, I was lucky enough to sit down with the director Nick Rowland to discuss the film…
Calm With Horses is of course adapted from a short story by Colin Barrett. How did you come across the source material?
I first read the collection of short stories when I was still at film school, and I had been writing short film scripts…and they were terrible. I was trying to read people who actually knew how to do short form storytelling better. Young Skins is amazing and Calm With Horses is like the sort of centrepiece of the collection. It was about 70 pages, so it felt like a good-sized story to develop into a taut movie.
Best known for his work in front of the camera, acclaimed Danish actor Ulrich Thomsen has moved behind the scenes to write and direct his second feature Gutterbee. The offbeat indie plot follows ex-con Mike (Antony Starr) and ex-pat Edward (Ewen Bremner) on their mission to open a German sausage restaurant in small-town America. They encounter conflict from narrow-minded businessman Jimmy (W. Earl Brown) who is very much against the gentrification of what he sees as his land.
I had the chance to chat with Ulrich Thomsen about this very unusual project…
First of all, how did the idea for Gutterbee first come about?
The idea is from quite some time ago when I stumbled upon the history of the sausage. Some years ago, there was a 50th anniversary for these little hotdog stalls that we have on every corner in Copenhagen, and a journalist had been writing about the history of the sausage. What’s interesting about the film is that it’s all based on fact, and all the sausage trivia in it is actually true. I thought would be interesting to tell a story about bigotry, homophobia, and religious stupidity but around the history of the sausage where nothing has changed in 2,000 years. The movie is essentially about identity. Every country has its sausage.
Indie director Gerard Johnson’s latest movie is Muscle, a psychological thriller starring Cavan Clerkin and Craig Fairbrass. The plot follows out-of-shape salesman Simon who meets an intimidating personal trainer at his local gym. After its premiere at the BFI London Film Festival, I caught up with Gerard to discuss the film…
How did the London premiere go?
It was great! It was my first time having a film at London. I’m from London so it was nice that I finally got to play a film there. My previous two Tony and Hyena both premiered in Edinburgh, so it was lovely to premiere in London with Muscle. The three screenings went well and generated great word of mouth buzz, so it was everything I wanted from the festival really.
Where did the inspiration come from for Simon’s story?
Well I’ve been going to gyms all my life really, from the spit-and-sawdust ones to the more modern lifestyle ones. I’ve had this idea for a while of a personal trainer taking over someone’s life, and it remained a two-page treatment idea for years. Recently, in seeing how gym culture has exploded, it made me think that we’ve never really had a film about gym culture. Obviously, there was Pumping Iron, which is an amazing gym-based documentary but that’s more about Arnold Schwarzenegger himself. Nowadays, everyone is more health conscious and knows about nutrition, carbs, good fats etc. so it feels like a good time to shine a light on that world in the cinema.
Nicholson is a respected and prolific screenwriter, having penned the scripts
for Gladiator, Les Misérables, Shadowlands, and many others. His latest film is
divorce drama Hope Gap which he has written and directed. It’s a very personal
piece as it is based on his own life and adapted from his Tony award-nominated
play Retreat from Moscow.
The story tracks the separation of husband
Edward (Bill Nighy) from wife Grace (Annette Bening) after almost thirty years
of marriage. With their son Connor (Josh O’Connor) somewhat caught in the
crossfire, the narrative illustrates how the split impacts on the family and explores
the repercussions of the breakup. The film celebrated its UK Premiere at the
London Film Festival, and I was fortunate enough to chat with Nicholson about
the biggest challenges in adapting the theatrical dialogue in your play for the
In an interesting way, the biggest challenge
was to not ditch the dialogue! A lot of people think that you can’t have a film
where people give long speeches. I don’t agree. A film is yet another form of
exposing people to emotional drama. There are some films that are wall-to-wall
talk and they’re amazing…films like Before Sunrise for example. The key thing
for me was NOT to say, ‘I must open it up’. I should have faith in my words.
Having said that, the film gave me so much
opportunity to give echoes of other images which I put an awful lot of work
into. It sounds silly but there’s a shot of a train going by and I spent about
a day trying to find the angle for the train to cross. I wanted the screen to
be a little bit empty, a little bit lonely, and to have a sense of ‘the end of
the line’ because that was in this emotion of the story. I’ve been able to
compose every frame! I can’t do that in the theatre because the audience
composes the frame. For me, that was a gift.
story being autobiographical of your youth, how come it’s taken so long to make
it to the big screen?
I was waiting for my parents to die…I think in
some ways it would’ve been hard for them to see the film. My mother certainly
was very conflicted. Not that she wouldn’t have wanted me to do it, but she
kept thinking that my version of what my father did was the truth. It might be
the truth, but I don’t know! He didn’t talk too much, so I’ve invented my
version of why he did what he did. Now that they’re not here anymore, I’m free
The other reason it’s taken so long is that
I’ve been afraid of directing for a long time. I finally thought ‘If I don’t do
this, I’ll just be dead’ so I might as well get on with it. I realised that I’m
surrounded by experts and my job as a director is to know what I want, but I
don’t know how to get it. The cinematographer, the set designer, the editor.
These people know how to get it, so I need to get them to make it for me…and
they do! Here I am at my advanced age and I feel like I’m starting a new career.
original play was titled Retreat from Moscow. What was the story behind the
name change to Hope Gap?
Moscow was always problematic because everybody thought it was about Napoleon.
It was a metaphorical title, but I thought for the film I had to do something
else. Because I grew up in Seaford, I thought I’d make it there…so when I was
visiting, I saw the Hope Gap which is a real place, and I thought that was
perfect. Nobody else wanted Hope Gap actually. My production colleagues thought
it was ugly and horrible. It might be puzzling but it’s memorable and I like
it…so I hung on and now it just seems so natural. I’m thrilled with the title!
such wonderful actors for the film. Did you always have them in mind at the
beginning of the project?
Bill Nighy, yes! I didn’t even know Josh O’Connor existed! I was casting and meeting people and by golly, do I know he exists now! He is going to be a big star. He’s wonderful. Annette was much harder to cast. I was originally looking at English actors, but my production company were telling me I needed a big name. A name big enough to get the money…so we looked into the Americans! We approached Annette and it was quite a process. She wasn’t sure about me but then why would she be sure? I might be a well-known screenwriter but I’m not a famous director and actors care about that. Thankfully, she eventually said yes and here we are!
Hope Gap will be in UK cinemas from 12th June 2020
Schemers is the first feature-length movie to be made in Dundee, and follows the adventurous early years of music producer David McLean. Ahead of its premiere at the Edinburgh International Film Festival, I was fortunate to sit down with writer/director McLean and leading actor Conor Berry to chat about their film.
What triggered the project and why did you decide to make it now?
Dave – Well it’s been a work in progress for a good few years…I’ve always fancied being a writer. I’d wrote the original script in 10 days but that was four years ago. Pals say to me ‘why don’t you do it? You’ve got loads of stories’ so when the band I manage (Placebo) had a bit of downtime, I thought this is the time to do it. We got the script, we got the money, and we just made it. We thought we’d make it about the early years because there was a good soundtrack for that time. It was a good period. It was exciting.
Indie filmmaker Drew Denny’s latest feature is short crime thriller Momster, which stars Amanda Plummer (Pulp Fiction) and Brianna Hildebrand (Deadpool) as a mother and daughter on the wrong side of the law. I’ve been lucky enough to ask Denny about this project on the week of its premiere at Tribeca Film Festival…