PILLION
Pillion, as seen by Harry Lighton
With Pillion, British director Harry Lighton presents his first feature film at Certain Regard: the story of an unremarkable young man played by Harry Melling (Colin) who, through the intermediary of Ray (Alexander Skarsgård), leader of a biker club, discovers the queer community.
What inspired you to begin work on this film?
I was sent the novel it’s based on (BOX HILL by Adam Mars Jones) at the start of the pandemic. I found it sexy, funny, moving, thought-provoking – all the good things. And I felt an immediate affinity with the psychologies of both the lead characters. I knew my adaption would involve big changes, but when I met with Adam he gave me complete freedom to go in whatever direction I fancied.
What was the atmosphere on set?
The atmosphere on set was invigorating. I thought that having waited so long to make my first feature, when the time came to shoot I’d be a big ball of stress. But the cast and crew were such a fun, talented gang to work with I had a blast. After a decade focused on writing, it made me remember how much I love directing.
Please describe your working method
Across each stage of the process I try to follow my curiosity. One draft was set on a cruise ship, another in Ancient Rome. I encourage my actors to offer up different versions of what a scene might be, and try and create space for discovery. At the same time I shot list extensively with my DoP, so that discovery happens within a clearly defined aesthetic.
What about your actors?
As anyone who’s worked with Harry Melling knows, he’s an incredibly warm and generous actor. He really threw himself into the role of Colin – practising Barbershop, learning wrestling moves, shaving his head. He fizzes with this very unusual brand of charisma that’s totally magnetic but not remotely alpha.
Alexander Skarsgård is a similarly unusual combination. He has these movie star good looks combined with a razor sharp, very playful, kind of freaky personality. And the more guerrilla our method (e.g. shooting scenes on hidden cameras in the middle of a packed high street) the more he seemed to enjoy it. He’s up for anything.
Together I think they bring shape and complexity to characters that in other hands could quickly become 2D stereotypes. The subtlety of their performances is key to the pathos of the film.
What would you like people to remember from your film?
I hope they’re moved by it. Whether it makes people laugh or cry, horny or angry, I don’t mind. I just hope they feel something other than boredom. If it causes them to question some of their preconceptions that’s also good.
A movie you want to recommend? And why?
Toni Erdmann. Who knew a work event between management consultants would make for the funniest scene in the history of cinema. I’ve been banging the Sandra Huller drum since Requiem. Sandra, if you’re reading this, let’s talk!
Can you tell us about your next project?
It’s maybe about hair transplants or sumo wrestlers. Or both. Maybe.
