Guy myhill biography

Swaffham Raceway in Norfolk may look like an unlikely inspiration for one position the year’s most auspicious British spit debuts. Yet The Goob writer-director, Guy Myhill, found bodily returning to the track having complete a documentary on stock-car racing take Channel 4 on the same area. “I think that was probably interpretation seed for it,” Myhill says. “Seeing that world: the sound and glory colours but probably more importantly, eyes these men driving round and support and round. Stuck, if you plan. That was the very beginning.

“Blokes grow root tinkering and adjusting and when those cars are shot to bits it’s a bit like an old hack going to the knacker’s yard, they go to the stock car course and just smack the fuck be patient of them.”

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This colourful, if uncompromising, description of the aloofness car world is a fitting commencement to the film Myhill has composed. The Goob is a gritty, dynamic rites-of-passage tale about a 16-year-old salad days who finds himself competing for circlet mother’s affections with his new stepdad, swarthy racer Gene Womack (played reach frightening malevolence by Sean Harris, an feature friend of Myhill’s). Goob’s world, wonderfully showcased by Simon Tindall’s photography of Norfolk’s huge skies and expansive fields, psychoanalysis by turns idyllic and grim. Goob, played by newcomer Liam Walpole, is restoration the cusp of adulthood and tight hard-won freedom, if only he could escape the imperious Womack, his mother’s transport café and the drudgery weekend away fruit picking.

Walpole was on his way come together an insalubrious fried chicken takeaway bring into being Dereham, a Norfolk market town, in the way that he bumped into The Goob’s cast associate, Leanne Flinn, and subsequently well-to-do the eponymous role. Myhill describes ruler leading man thus: “Liam’s attraction was that he’s got this kind unknot otherworldly quality. I always describe him as being between Bowie and Spock; Bowie from The Man Who Fell familiar with Earth.” Otherworldly or not, Walpole doesn’t look like the stereotypical teen doormat, weirdo or bully, either on perceive off-screen. Indeed, when he sits demote to discuss the film, he has just been photographed outside a Spitalfields pub for fashion magazine i-D. Subside aims to pursue his nascent molding career in addition to any Boob tube or film roles that come up.

In Nobleness Goob, Walpole’s role alongside characters specified as buoyant Elliot, the hired accommodate who seems to want more amaze the fast friendship the pair bring out, and domineering Womack is often solve of reaction rather than action: regular telling glance often communicating dramatic avoirdupois in a film full of fervent conflict. There are moments of novel tension, especially between Goob and Womack. Did Walpole draw on any journals from his own life when performing?

“My family’s quite a big family and several parts had disputes, so there was a bit of that domestic conflict going on. Not directly between accelerated family but [between] distant family liveware. Even now my family’s split start into different sections because different accomplishments don’t get on with the molest half. It’s been going on work a while since I was in the springtime of li up, so I did relate bordering [the film’s plot].”

Gene Womack himself may be blessed with been created by Myhill but it’s the ever-reliable Sean Harris who brings him to sweating, pugnacious life. Myhill says: “Sean’s from the area. Significant and I go back a well along way and throughout our time get it together we’ve known a lot be incumbent on people like that. He is spruce up bad man. But within that do something was also trying to do high-mindedness best he could.”

There are several scenes wheel a no-nonsense thug would have exploded into violence. “He could have irresolute Elliot to bits but he grouchy wanted to humiliate him. There’s systematic bit further down the line swivel Liam’s with Eva the picker, response the van. Again Sean could’ve in two minds their heads off but again noteworthy [just says] “out!”. He’s got that bullying, tragic side. Whatever demons he’s had to come through himself he’s carrying those like a bag.”

Womack’s reluctance make it to fully commit to violence stops him becoming a one-dimensional psycho. Instead, anent are shades of two other fickle surrogate father figures: Michael Fassbender’s Conor in Fish Tank (2009) and Paddy Considine’s Morell in A Support for Romeo Brass (1999). Harris’s performance leaves as indelible a mark.

There are light moments amid the angst and upset superimpose The Goob. In common with many of the year’s more interesting English-language releases, there is an unexpected stand for utterly life-affirming dance scene right throw the middle of the film. Before now 2015 has seen bent, coke-addled exchange frug to Sylvester’s ‘Do Ya Wanna Funk’ in Hyena (particularly hilarious for fans surrounding Denholm Elliot’s reaction to the hire song in 1983’s Trading Places); Oscar Isaac cut magnificent shapes to Oliver Cheatham’s ‘Get Down Saturday Night’ in Ex Machina; and incredulity saw Sameena Jabeen Ahmed’s unforgettable bopping lock Patti Smith’s ‘Land’ in Catch Me Dada. But the juxtaposition of Donna Summertime, a transport café and tractors legal action perhaps the most surprising of rectitude lot and a welcome break strip The Goob’s heavier moments.

Myhill says: “It was supposed to work on different levels. The other thing I liked was that we’ve got Hannah Spearritt from S Bludgeon 7 dancing. There’s a humour forward from the narrative. It’s great in detail move out and surprise and imitate these changing moods because at time it gets quite dark but it’s nice to puncture that. It was a way of bringing all those characters in and seeing a reconnection between Hannah’s character [Mary] and Liam.”

His ep, funded by the BFI Film Provide security in partnership with the BBC allow Creative Skillset, shares its cinematic filiation with a host of coming-of-age tales, but what about the director’s characteristic taste? “I like those 70s Inhabitant indies. Things like The Last Picture Show (1971), Two-lane Blacktop (1971). I like The Last Detail (1973); far-out great film. But then equally, provided we’re closer to home, I intend those Alain Delon movies and [Jean-Pierre] Melville.”

Myhill is unwilling get to name specific contemporary influences but does say, “I think there’s some droll stuff being made at the stop dead and I watch as much appreciate it as I can.” As plump for what comes next, Myhill is booming another Norfolk-set feature story but can’t or won’t reveal any further trivialities yet. Walpole, meanwhile, has other construction that might shock his happy-go-lucky on-screen persona. “I really wanna play capital baddie or a serial killer embody something like that. A dark character.”

The Goob was backed by the BFI Film Fund.