HYENA: A Look At Gerard Johnson's Tony

I'm creeped out by myself in that movie.

If the name Gerard Johnson doesn't ring any bells, it should. Perhaps you will recall a grubby, claustrophobic film from a few years back called Tony. (We can see you nodding at your computer as you read this blog post. But we swear we're not creepy.)

What is definitely creepy is Tony. As discussed in our director profile of Gerard Johnson and his new film Hyena, it was made on a miniscule budget after Paul Abbott saw Johnson's ten-minute short of the same name. Although sometimes films made from shorts lose their steam after a while, this was not the case with Tony. Every frame is suffused with grit and bleakness, and the score, by Johnson's brother Matt (The The), adds to the sense of suffocation and pathos.



Based loosely on serial killer Dennis Nilsen, Tony (played to grimy perfection by Peter Ferdinando from A Field In England) is a bit of a loner. He fails miserably at nearly every interpersonal interaction in which he is involved. Granted, he tries to befriend the bootleg DVD guy on the street corner who may not speak English and a couple of smack addicts, but still, you have to feel sorry for the guy.

At least until he starts killing people.

What makes Tony's murders even more chilling (other than the scenes featuring dismemberment and blue plastic bags and the constant discussions of the smell coming from "the drains") is how little his demeanor changes when he commits them. Sure, he seems angry, but the tone of his voice and facial expressions are pretty much the same whether he's trying to get out of taking on a job or bashing a hustler in the head with a hammer.

Yet, although he's surly and somewhat lazy and totally clueless about relationships, be they platonic or sexual, he comes across as more of a pathetic figure than a genuine threat, which is where Johnson's film and Ferdinando's performance are most horrifyingly effective. He is a genuine threat. It's never clear what sets Tony off and makes him kill. Is he frustrated at his lack of social skills or repulsed by his own sexuality? Or is it because no one takes him up on his offers of food? (Beans on toast! I thought you'd never ask!)

Another aspect that makes the film more grotesque is the humor, though it's admittedly bleak. Granted, the film is not an uplifting comedy, but there are still laughs to be found, however queasy they might make one feel.

For another look into the darkness of the soul from both Gerard Johnson and Peter Ferdinando, add Hyena to your list of must-see films at this year's Festival.

HYENA screening times:
Sun., Sept. 7th, 6:45 PM, BLOOR HOT DOCS CINEMA
Tue., Sept. 9th, 9:00 PM, SCOTIABANK 12
Fri., Sept. 12th, 12:00 PM, BLOOR HOT DOCS CINEMA

HYENA: Actor Profiles

"I actually wouldn't have minded hearing a rap. What a let down..." 

[Updated: Sept 3, 2014]

After our director profile last week, we have to say we're even more excited to see what Gerard Johnson has in store for us with Hyena. To get you even MORE excited (if such a thing is possible), we're going to break it down with a rap. Not actually. But we will highlight a few of the actors appearing in Hyena. (Trust us, this is preferable.)

"Peter who?" 

Hyena stars acclaimed actor Peter Ferdinando. You'd be lying if you said you recognized him from Midnight Madness/Vanguard darling Ben Wheatley's A Field in England (we're still recovering from that crazy awesome trip) because Ferdinando is such a chameleon from role to role. His portrayal of a 17th century war-deserter is absolutely fantastic.

How do we even describe A Field in England? Well, there's a field. And some war-deserters. And an alchemist. And, hm, might as well watch the trailer embedded above because it all gets a little (read: a lot) stranger after that. Wheatley and Ferdinando fans can rejoice, because they'll both be together again in Wheatley's upcoming High-Rise, which also stars dreamy Tom Hiddleston. Not that we care or anything. Ahem.

If need to get your Ferdinando fix sooner, check out Starred Up in the trailer above. It's a gritty, amazingly acted prison drama. Ferdinando, again nearly unrecognizable has a smaller—yet still memorable—role as the "head-honcho" (very technical term, trust us) inmate and he doesn't take shit from anybody. 

"No, afraid I don't know of any Peter."

And, of course, we couldn't end our profile of Peter Ferdinando without mentioning the other Gerard Johnson film he starred in: Tony. Now Tony is worthy of writing a completely separate post about (stay tuned!) but we will say that again Ferdinando completely embodies his character, this time that of a rather odd serial killer. 

"Sigh, I kinda miss my old-timey hat."

A film and its star are only as good as their co-stars. Lucky for Hyena and Ferdinando, he's got an amazing supporting cast. Take Stephen Graham, for instance. He is probably most recognizable for playing the young Al Capone in Boardwalk Empire but you might also recognize him from his roles in This is England, Gangs of New York, Snatch, and Pirates of the Caribbean: On Stranger Tides. From skinhead to pirate to gangster, we're mighty impressed with Graham's body of work and ability to transform himself into pretty much anything on screen.

"I'm just a regular hit-man and this is totally just your run-of-the-mill hit-man movie. Promise." 

Ferdinando and Neil Maskell can be part of a rousing game of "Six Degrees of Kevin Bacon" as they not only appear in Hyena together, but they've both also starred in Ben Wheatley films. Maskell shocked and delighted Midnight Madness audiences in 2011 with his role as a hitman in Kill List, another nearly indescribable genre-bending film from Wheatley. Maskell has a role in Wheatley's upcoming High-Rise, so him and Ferdinando will be together on screen again (awwww). Maskell was also a part of The ABCs of Death, where he briefly appeared in, you guessed it, Wheatley's segment "U is for Unearthed." [Update: It was brought to our attention (uh, totally not by Gerard Johnson because wouldn't that be embarrassing) that due to an oversight we failed to mention Neil Maskell's appearance in the aforementioned Tony.  This is not just great because Maskell is great and Tony is great and Gerard Johnson is great, but also because it further perpetuates the amazing crossover love-fest going on with the cast of Hyena. Please all keep making movies together.]

"Yeah, I'd rather not talk about that vampire movie..."

We're really on a roll with these Johnson/Wheatley film crossovers because MyAnna Buring not only appears in Hyena but also stars opposite Neil Maskell in Kill List where she holds her own as his wife, struggling to wrap her head around his job as a hitman. It makes us pretty much forget about the time she was a sparkly vampire. Don't worry Downton Abbey fans, we haven't forgotten about you: Buring plays maid Edna Braithwaite, who (according to the internet because this author doesn't watch Downton Abbey, oops) is basically there to stir shit up. And also find a husband. Get it, girl. 

This film is sure to be an electrifying film, given director Johnson's considerable filmmaking talents along with the combined talents of all of these seasoned actors. Screening times can be found below—mark your calendars!

Hyena is screening as part of the 2014 Toronto International Film Festival in the Vanguard Programme. Check out more Vanguard films on the official Festival website.


HYENA screening times:
Sunday, Sept 7th  6:45 PM THE BLOOR HOT DOCS CINEMA
Tuesday, Sept 9th 9:00 PM SCOTIABANK 12
Friday, Sept 12th 12:00 PM THE BLOOR HOT DOCS CINEMA

Acquired Vanguard Films, High Five!

So TIFF is officially over. Womp, womp, womp. Yesterday was spent in denial--either sleeping or cleaning apartments or tying up any festival loose ends. But today, Tuesday, we all have to face the harsh reality that it's really over. Colin even cleaned his fridge; what is the world coming too?!

It's always bitter sweet when the Festival comes to an end, but we're quick to get excited again at the prospect of seeing some of our favourite Festival films out there in the world. So far, four of our Vanguard films were acquired either before or during the festival. Fingers crossed we won't have to wait too long before these ones hit the big (or small, depending on their distribution deal) screen.

Jeremy Saulnier's Blue Ruin was acquired by Radius - TWC for North American distribution after its premiere at Cannes and we couldn't be more excited for the rest of everyone see this deft, tense revenge story.

Alex van Warmerdam's Borgman was also picked up after Cannes by the always awesome Drafthouse Films for U.S. distribution--a perfect fit for the disturbingly dark and hilarious film, if we do say so ourselves.

Magnolia Pictures was wise to snatch up U.S. rights to Ti West's The Sacrament--news that we're sure had Ti West fans around the world rejoicing.

And if a terrifying docu-style movie about a cult isn't enough for you, IFC Midnight acquired the North American rights to Zack Parker's Proxy--a chilling, powerful thriller centred on a pregnant woman. (Best idea ever, but maybe also the scariest: screening a double feature of The Sacrament and Proxy.)

Lastly, even though it was technically in the Wavelengths Programme, we'll always love Ben Wheatley and we were pleased as punch to hear the psychedelic mind-trip A Field In England was also picked up for US distribution by Drafthouse Films last spring.

Congratulations to all of these Vanguard films and the rest of the films that were purchased during the Festival. There are still many films we're hoping gain distribution and we're sure you feel the same. We'll keep our fingers crossed if you do too.

Colin's Candid Pictures: A FIELD IN ENGLAND Director Ben Wheatley

Director Ben Wheatley at the premiere of A Field In England at the Ryerson last night.  Photograph courtesy of Vanguard progammer, Colin Geddes.

There is one more screening of A Field In England:

Saturday, Sept 14th, 9:00 PM TIFF Bell Lightbox 3

A FIELD IN ENGLAND: 5 Questions with Director Ben Wheatley

Well, kids, it's that time of year again. Time for our annual 5 Questions with Director Ben Wheatley, that is! Siân had a lot of fun asking Mr. Ben Wheatley questions last year about his Vangurd film Sightseers and now she's back with round two for Wheatley's Wavelengths film, A Field in England.

//

SM: Watching A Field in England, I couldn't help but draw comparisons to Barry Lyndon and Witchfinder General. Did either of those films inspire yours? What drew you to doing a period piece in the first place? 

 BW: All Kubrick is an inspiration. Witchfinder is a similar period but not really an inspiration. History drew me to the period. It's a fascinating time.

SM: Just being on set--stuck in that field--must have been a surreal experience. Were there ever times when you started to doubt you'd bring it all together?

BW: No. Not really. It was a pretty good experience. I tend to be pretty happy when I'm shooting.

SM: In the last few years black and white films have experience quite a renaissance; films like The White Ribbon, Nebraska, Frances Ha, Blancanieves, and Joss Whedon's Much Ado About Nothing, have embraced this aesthetic. Could you share some insight on why you think filmmakers are being drawn to this?

BW: For me Black and White makes you look at faces and texture. It funnels the amount of information the viewer receives. I can't speak for other film makers.

SM: The soundscape and music in the film are stunning and pretty much a character in their own right. Although this is a period film, the music is decidedly anachronistic, but it really enhances the films' otherworldliness. Did you play a large part in this process or was it all the invention of the composer?

BW: I play a large part in the music. I worked closely with Jim Williams on this score. I'm not a musician though. We talk about the score a lot then he demos it. I get the demos as stems then I make a rough mix of what I like from the stems. The score is then created from that.

SM: So far, each of your films has been wildly different than the last and often gives the audience an unexpected experience (for example, Sightseers starts off as a quirky British road comedy and evolves in to Natural Born Killers with sweaters). Has this been a conscious decision?

BW: Making an experience is a conscious decision. Every frame of a film is deliberated on. You see the films as different from each other. I see them as too similar to each other. I'm trying not to make the same film again and again. But it's hard.

//

We here at the Vanguard Blog are some of Wheatley's biggest fans and we're confident that whatever he does next will be mind-alteringly awesome. We just hope it's out in time for the Festival next year so we can have our third annual 5 Quesetions with Ben Wheatley. In the meantime, don't forget to check out A Field in England.

A FIELD IN ENGLAND Screening Times:

• Friday, Sept 13, 9:00 PM RYERSON THEATRE
• Saturday, Sept 14, 9:00PM TIFF BELL LIGHTBOX 3

Director Profile: A FIELD IN ENGLAND'S Ben Wheatley

Does director Ben Wheatley really need an introduction at this point? Well, maybe if you've been living under a rock for the past few years. In that case: all you really need to know if Ben Wheatley is freakin' awesome. (In fact, The Guardian listed him as one of the 23 Best Film Directors in the World.)

Okay, okay: we'll elaborate.

Wheatley's first feature film, Down Terrace (2009), is a crime drama that won awards from the British Independent Film Awards, Next Wave Awards, and Fantastic Fest. Kill List (2011) premiered at SXSW, went on to simultaneously wow and terrify Midnight Madness audiences at the 2011 Toronto International Film Festival and, because of course it didn't stop there, it was nominated for six British Independent Film Awards, winning one. In 2012, Wheatley took his third feature film, the hilariously dark Sightseers, to the Directors' Fortnight section at Cannes Film Festival, went on to screen at a bajillion (maybe an exaggeration) film festivals, including the Vanguard Programme at the 2012 Toronto International Film Festival, and (you're probably noticing a trend here) also went on to be nominated for a bajillion (also maybe an exaggeration) of awards, winning another British Independent Film Award for Best Screenplay and an Empire Award for Best British Film.

Phew. Okay, we need to take a break now. Here, enjoy this picture.

director Ben Wheatley, writer/cctor Alice Lowe, and programmer Colin Geddes
at the 2012 Toronto International Film Festival

…Anddddd, we're back. Deadpan, comedic crime drama; twisty, terrifying horror; dark and hilarious road trip adventure--what could Wheatley possibly get up to next?

A psychedelic, black and white, freak-fest imagining of the English Civil War. Obviously. Now Wheatley's A Field in England is technically part of the Wavelengths Programme, but we love it so much and Wheatley IS a part of the Vanguard family, so we're blogging about it any way. Try and stop us.

A Field in England

The film picked up a Special Jury Prize at the Karlovy Vary International Film Festival and was released in the UK through various platforms this past July. After it's North American Premiere at the Festival, Drafthouse Films--in its infinite wisdom and solid understanding of kickass-ery--has secured the US rights and Films We Like will be distributing in Canada.

As if you're still on the fence about catching A Field In England at the Festival, here's a few more reasons why it's not to be missed:

"A tough film to synopsise or encapsulate, it evokes classic British horror . . . but is closer in tone to a grittier yet still metaphysical brand of arthouse mystification."

"What a unique film-maker Wheatley is becoming. From the realms of contemporary social realism, crime, comedy and fear, he has moved on to lo-fi period drama, but cleverly alighted on the one period that suits his stripped-down visuals and subversive instincts perfectly."

"What is most refreshing about the film is its utterly offbeat quality.


A FIELD IN ENGLAND Screening Times:

• Friday, Sept 13th, 9:00 PM RYERSON
• Saturday, Sept 14, 9:00 PM TIFF BELL LIGHTBOX 3

A FIELD IN ENGLAND Behind-the-Scenes

Because we know you're just dying to hear more about director Ben Wheatley's A Field in England, we found a behind-the-scenes featurette to share with you. WHAT?! Amazeballs, right? Right.

Wheatley originally posted this on his blog, with a link to the full, treasure trove of materials on the film's website, saying he "wanted to make available the process of how you make a film" and that he hopes we find it useful.

If you head on over to the website, you can learn everything you ever wanted to know about A Field in England in a handy, dandy Masterclas--from development to costumes to acting to the score. See, EVERYTHING you ever wanted to know. It probably goes without saying that all of this information contains spoilers, but we don't want anybody whining to us about ruining the film, so we'll say it here, in caps, with bolded font for even more effect: IF YOU PARTAKE IN THE DIGITAL MASTERCLASS, THERE WILL BE SPOILERS. GOT IT? GOOD. CLICK HERE AT YOUR OWN RISK.

For those of you who haven't seen the film yet, here's a little spoiler-free snippet from the Masterclass about A Field in England's influences:

A FIELD IN ENGLAND Screening Times:

• Friday, Sept 13th, 9:00 PM RYERSON
• Saturday, Sept 14, 9:00 PM TIFF BELL LIGHTBOX 3

A FIELD IN ENGLAND trailer and posters

Ben Wheatley's black and white English Civil War freakout plays in the Wavelengths programme, but it could easily have fit in amongst the other Vanguard titles, so we're going to feature it here. Wheatley's a TIFF favourite, with his last two features (2012's Sightseers and 2011's Kill List) showing in the festival. Here's the trailer:

And now for the gorgeous posters. First, the official one:

Now a limited edition one designed by The Twins of Evil (Luke Insect and Kenn Goble), and included only with vinyl copies of the soundtrack (now sold out):

Finally, a fan art one designed in woodcut style by Richard Wells:

A FIELD IN ENGLAND Screening Times:

• Friday, Sept 13th, 9:00 PM RYERSON THEATRE
• Saturday, Sept 14th, 9:00 PM TIFF BELL LIGHTBOX 3