theartsdesk Q&A: actor Sam Riley on playing a washed-up loner in the thriller 'Islands'

You won't find Sam Riley lying at the pool in a holiday resort – unless it's for work. "I'd rather stay home to be honest", says the Berlin-based Yorkshireman, who plays a washed-up tennis player turned coach living on the Canary island of Fuerteventura in Jan-Ole Gerster's slow-burning psychological thriller Islands. "I'm sure it's great to drop the kids off for a while and enjoy some peace and quiet. But my idea of relaxation is quite different."

No surprise there. Riley, 45, might have become a well-known actor, but, in his heart, he's always been a rock star. At least that's the career he had planned for himself when he left the National Youth Theatre and failed to get into drama school. Instead, Riley got on stage with his band, 10,000 Things, which led to him being cast as the tortured Joy Division frontman Ian Curtis in Anton Corbijn's Control (2007).

Riley's much-garlanded performance as Curtis changed his life. He subsequently brought his soft good looks, mild demeanor, and the deep smoky voice that's his trademark to less rewarding parts but, in 2012, he impressed again as writer Sal Paradise, Jack Kerouac's alter ego in On the Road. Two years later, Riley dipped a toe into Hollywood fantasy starring alongside Angelina Jolie in Maleficent, Disney's live-action remake of Sleeping Beauty. 

Since then, Riley has worked with such directors as Ben Wheatley (Rebecca), Karim Aïnouz (Firebrand), and Marjane Satrapi (Radioactive), always delivering fine performances but mainly in supporting roles. Lately, his star has risen again thanks to his portrayal of the South African ballet dancer and choreographer John Cranko in Joachim Lang's moving biopic Cranko (2024) and his enigmatic turn as Tom in Islands. (Pictured below: Riley as John Cranko.) 

Over the years, hotel-dweller Tom's aimless existence under the ever-shining Fuerteventura sun has contributed to him becoming a lonely, debauched, and self-pitying alcoholic. When vacationers Anne (Stacy Martin), her husband Dave (Jack Farthing), and their young son come to stay at the hotel, Tom is drawn to them, but he soon learns that the marriage is in crisis. After Tom and Dave go to a nightclub, the latter suddenly disappears. 

Following Islands' world premiere at the Berlinale earlier this year, Riley talked about his complex character, men in crisis, and why he's a fan of reality TV.

PAMELA JAHN: Do you play tennis yourself?

SAM RILEY: Not really. A few weeks ago, I played a match with my son for the first time since the film. He loves the sport. We trained together when I was preparing for the role. But to be honest, I was pretty relieved when we finished shooting the scenes with Tom on the court.

At least your son doesn't have to worry about a powerful forehand from his dad.

My backhand is even worse. But the hardest part is the serve, which unfortunately was the most important thing I had to learn.

What attracted you to the role of Tom?

Firstly, it's a great leading role, a complex character, even if it doesn't look like it on paper. I often miss parts like this in contemporary cinema. I was fascinated by this man, the idea of a life full of untapped possibilities and potential – and the self-destruction that comes with it because of his missteps.

Can you relate to his frustration?

Without getting too personal, I can understand what Tom is going through. I also know how it feels to bury your head in the sand for too long instead of facing reality.

Tom often wears dark sunglasses. Does an accessory like that change the way you approach playing a specific character?

That’s an interesting observation. The glasses are more than just about sun protection. People assume that Tom is this cool, laid-back guy living his dream on the island. But actually, he's extremely fragile and vulnerable. To hide his social and personal fears, he hides behind his sunglasses as well as behind the alcohol, the drugs, and the sex. That doesn't necessarily influence my portrayal of the character, but it does make it more difficult to make eye contact with my colleagues who are in front of the camera with me in a particular scene.

Why do we always project something onto other people? Why do we assume that life on an island like Fuerteventura must be a dream come true?

I don't know. And I try not to do that anymore and instead be aware of what I have in life – and to be grateful for it. For me personally, that's the only way to find a certain serenity. Of course, it's easier said than done. But sometimes it's not so bad to struggle and fight for something if you believe in it.

Is dealing with fame difficult for you?

The desire for recognition is like a rush, like another drug. Compliments can be addictive if you're not careful. You have these wonderful, profound, enriching, but often emotionally destabilising experiences on stage or at a film premiere. And then they're over, you come back down to earth and wait for the next kick. Resisting that is a never-ending learning process.

What does the film say about the widely lamented crisis of masculinity?

One of the reasons why it's called "Islands" is that the three main characters all go through very similar identity crises, even if their motivations are different. This applies not only to Tom and to Dave, the father, but also to Anne, the mother. They hve all built a façade to protect themselves from pain or vulnerability. And whatever you see in these three characters as a viewer, it's much easier to accept their flaws and shortcomings than your own inadequacies. You sense that there is a way out for the three of them, but they can't see the opportunity for themselves.

You played Ian Curtis when you were starting out as an actor and recently John Cranko, the dancer and choreographer. They were both more successful in life than Tom, but just as unhappy. (Pictured left: Riley as Curtis in Control)

That's right. Cranko, for example, was considered a genius, but he never found true love and never felt that his work was really appreciated. Just like Curtis in the beginning. In a way, all these characters are broken by the same problem: It doesn't matter how your life appears to the outside world if you are not satisfied with yourself, or if you long for something you cannot have. Neither Tom nor John, or Ian, would ever be enough for themselves. With Cranko and Curtis, it's even more extreme because they loved public admiration. Tom isn't the type for that. But he knows he could have done more to make something decent of his life. Or just be content with what he has.

After all, Tom is a very keen observer. Would you say that's an essential quality for an actor as well?

I pay close attention to how people behave. That's why I love reality TV, more than I should. I also like to sit in cafés and just look around. Or I listen to family conversations at the next table in a restaurant. It's not about voyeurism. The most important people I've worked with have taught me that you're only a good actor if you really listen to what the other person in the scene is saying. I learned that way back on the set of Control, when I played Curtis alongside Samantha Morton and my now wife, Alexandra Maria Lara. It's the most important piece of advice I've been given, and I still stick to it to this day.

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