INTERVIEW WITH ADAM KELLEHER, DIRECTOR OF, NEW YORK MOVIE
Will Duncan as Willy in NEW YORK MOVIE
DAM KELLEHER is an Irish filmmaker who’s new film NEW YORK MOVIE is brilliant, hilarious, and a fantastic descent into one man’s spiralling self-worth as he fails to satisfy two strangers with his picture taking ability. We questioned Adam, and this was the result…
NEW YORK MOVIE, is a film about a person trying to be appreciated by strangers, but it’s also ostensibly about a bright eyed young person heading to a big city but quickly finding he can’t please people with what he creates for them.
Is this a film about the curse of being a young artist trying to make a mark in a major city? Or just about pics?
I think two things can be true. At the end of the day I just wanted to make something that made people laugh and entertain them. If people pick up anything else that’s a plus. As long as people find the film funny it can be about everything and nothing at the same time.
Did you draw on any personal experiences in the film’s creation? When’s the last time a stranger screamed at you?
You know what? Luckily I haven’t been screamed at in a while. If anything, I think I need more of that in my life. I think if I had more Full Metal Jacket-style yelling in my face all the time. I’d get a lot more done.
Also, I have for sure taken photos of people that have hated them… That is very much an experience I’ve lived through multiple times. It’s mortifying every single time.
Recently I was at a gig that my friend was putting on and I was asked by a fan to take a photo of the two of them on their phone, when I handed the phone back I heard them say “Why did he take them like that?” I ruined that moment for them.
It joins the long tradition of New York City comedy films. What is it about New York for you that suited this concept? Do you think it could have been set elsewhere or is New York innately special?
New York is a fascinating place. As an outsider it feels endless; filled to the brim with characters. It really lends itself to comedy in that way. It’s a place where excess and hyperbole suits very naturally so it makes sense why so many comedic stories and people are gravitated towards it.
I always wanted to shoot a film in New York. Who doesn’t? So I figured now is a better time than ever. So I did. I’m sure it could’ve worked in a different setting. But I just knew our collective understanding of the city really lends a lot to the stressful and batshit tone we were striving for.
And to you, what is the ultimate New York City film?
Truly impossible question. It’s probably Spike Lee’s Do The Right Thing… Objectively speaking… right? Otherwise I could be here all day... Maybe After Hours? Too hard… I’ll settle on Do The Right Thing for now… But maybe Midnight Cowboy… It’s so good. But also Daddy Longlegs? Hey Good Lookin’? Putney Swope? There’s also Annie Hall, and The Cruise by Bennett Miller… that's quintessentially New York… but also The Out-of-Towners… Actually yeah, maybe The Out-of-Towners (1970)... or Do The Right Thing (1989)... I don’t know, ask someone else… It’s probably the documentary ‘I Like Killing Flies’ from 2004.
The style of this film is great; it’s shot on wonderful Super8 and 16mm. Can you talk a little about that choice and that process?
It’s a bit of an annoying answer, but I just knew it had to be shot on film. A lot of the references I was touching on were shot on film and I wanted it to feel a part of that world.
To get wanky about it for a second, when you shoot on film it’s an actual living thing. It’s a chemical reaction that’s happening, so it is very much an alive image. For a film that we wanted to feel kinetic it felt necessary. Something also intrigued me about taking an image that looks kinda busted and tattered, as if ripped from a crappy film scan, with the modern age. We’re using iPhones, we have Matcha in the film, we’re not shying away from the fact that it is a contemporary story. But to place it in a kind of timeless space tickled me in a major way.
I had shot on film a couple times before making this film and always really admired the work ethic that it requires. You can’t really fuck around when you’re shooting on film, it brings up everyone on set and narrows in exactly what’s necessary to capture. It was also coming across our DOP David Williams’ work that I knew it would be possible. He knew exactly what we were going for from the jump and once he was on board I was so happy. He made every thought that was in the script possible. I owe him my life.
As for the Super8 used in the film, that was something I always wanted from the jump. Because Super8, more than 16mm, has such a nostalgic quality to it. For whatever reason it feels like a faded memory, so whenever you see Super8 being used in the film I wanted it to feel like you’re living in our character’s memories. Also from a logistic point of view, a lot of the stuff that was shot on the 8mm were pickup shots that I could run around and do myself while I was in the city. David’s a busy guy so to get him to run around and do it felt silly. So from a practical point of view I ended up shooting the super8 footage on off-shoot days.
It’s also got that great animation sequence; where did that come from for you?
A buddy of mine, Stuart Hill, did the animation for the film and he’s incredible. I’ve always loved animation and as I mentioned I wanted to fit as much of my interests into the film as possible. I was watching a lot of Ralph Bakshi’s work when I was writing this film so naturally I wanted to rip some of his juice, that’s why we used the filmed background element and shot it on super8 film.
The film ‘The Sweet East’ by Sean Price Williams and Nick Pinkerton from a couple years back made a huge impression on me. Towards the end of the film there’s a really brief random animated sequence that coupled with the animated sequence in Annie Hall really opened my eyes to what’s possible within the medium. Why can’t you just have an animated sequence? If it makes sense with the tone, there’s no reason not to.
It was also the one piece of the script that everyone gravitated towards. Everyone was jazzed at the notion of animation. We shot the animation on Super8 because I needed it to feel baked into the rest of the film and I think the final look we got was amazing. I’m so happy with how it turned out.
Willy, played by Will Duncan- who’s fantastic- is both a very funny caricature and also someone we grow to really pity. How did you guys strike the right tone for a great comedic performance, or are you just telling him to go crazy with it?
Will Duncan is the greatest actor of our generation. Mark my words. He is a genius.
I remember we FaceTimed and went through the script once before shooting and that’s where he really found the character. He was the one to make him British (or Australian, or whatever he ends up being in the film). Originally I saw Willy as a wide-eyed midwestern kind of guy but Will doing an accent made me laugh way more. Will was also pitching this Dutch character that he does as a possibility but it didn’t feel quite right.
As soon as he started to do it in the accent I was so giddy. I was like a little school girl on the other end of the phone.
I think Will really understood the tone we were going for so there was actually very little conversation on how he would play it. He showed up on the day and was perfectly formed. He’s down to do anything and is fully committed to any situation we put him in. He is a god send really.
He also had to wear these mad long socks to cover up a bunch of tattoos all along his legs and we kept them up with these thigh garters too; I think that really helped him get into the character more than anything else.
How did you find someone as perfect as Will? Were you friends before this or did you find him through the casting process?
I first saw Will in Michael Rees’ short ‘Normal Guys’ and I fell in love with him. It was love at first sight. For whatever reason I was convinced I wanted to make something with him from that moment. He’s so funny in that film.
We had met very briefly in passing a few times in New York. I wrote this script for Will and I sent it to him on a wing and prayer and luckily he messed with it. I had no clue who I would’ve done it with if he wasn’t down.
I feel incredibly lucky that he was interested in working with me, it was truly an incredible experience. He’s the next Brando.
This film feels like it draws from everything that’s zeitgeisty and exciting in our current culture, Conor O’Malley and Safdie Brothers and beyond. So, who does influence your work and is that a conscious thing for you or are these influences just burned into your psyche?
I think it’s a bit of both to be completely honest. I ingest so much media all the time and this film was me trying to combine all aspects of what I am interested in. I’d be lying if I said the work of Conner O’Malley, Jack Bensinger, the Safdies, and Tim Robinson hasn’t seeped into my being but a lot of the touchpoints to this film weren’t so contemporary.
There was a big inspo sheet and presentation that I shared with David Williams the DOP, and some of the cast and crew which had loads of film references from Cassavetes, to Melvin Van Peebles, Hal Ashby, Ralph Bakshi and beyond.
CARY GRANT OR JIMMY STEWART?
Jimmy Stewart, purely for the forehead sweat in Rear Window. Impeccable.
WHAT ARE YOU COOKING FOR ALFRED HITCHCOCK IF HE’S COMING ROUND FOR DINNER?
Fuck, I’d probably have to throw in a couple of courses. So I’d probably start it off with some beans on toast (white bread), and follow it up with this dish that I make called lentil slop that I think he could mess with (that would come with a side of basmati rice), fuck it, we’re carbing up and moving on with some spaghetti and veggie meatballs in a homemade spicy tomate sauce with some garlic bread on the side, then we’d end the night with a tiramisu. Ended up with a bit of an Italian flavour but I think he’d be down.
IDEAL CINEMA SNACK / DRINK COMBO?
I’m a sucker for a Peanut M&M and Lucozade Original combo. Especially if it's a long sleepy film, the Lucozade is needed.
ELAINE MAY OR AGNES VARDA?
I would never pin two women against each other - but Elaine May! Ishtar desperately deserves a reappraisal. Truly one of the funniest movies ever made. I genuinely don’t know why people don’t like it. The Heartbreak Kid was also a huge influence on this film and was a massive reference for the New York Movie poster (we essentially bastardized it for our benefit). Thank you for everything you’ve given us Ms Elaine May.
IF YOU COULD MAKE A BIOPIC ABOUT ANYONE, UNLIMITED BUDGET, WHO WOULD IT BE?
I don’t know… Jon Lovitz?
Adam, the film's amazing, audiences are loving it. It's now widely available to watch at home and share with friends. Tell us, for a young guy like you, what’s next?
I really want to go on a holiday… Preferably near a beach.
I’m not one to jinx coming attractions but if I can pull off what I have planned next it will break the fabrics of the entertainment industry, mark my words.
