One of the earlier interviews came via Jon Hamblin who had pieces in print for SFX Magazine, on his own blog and a little more here but first past the post must have been this delightful bit of nonsense from Neil at The Incredible Suit who goes on to interview key members of the crew before returning to the master himself. Seriously, wander around all his pages for more bountiful nuggets than you ever imagined.
I am so biased in my deeply fond love for these Podcast munchkins. Sam was flying solo for this but Simon had his moment of glory later in the week.
Little White Lies have kindly put their special Attack the Block issue online in some kind of digital format so that you can read it without having the awesome glow-in-the-dark cover tediously cluttering up your lack-lustre life.
Joe talks to Peter Watts of The Independent
Oui. Sinnon vous avez lu film français La Horde ?
La what ?
Euh Horde. H.O.R.D.E. Réalisé par Yannick Dahan.
Ah, The Horde. Oui je l’ai vu, mais pas en entier.
The tower blocks where I grew up have always looked like enormous spaceships
I was always very envious of Edgar and Simon’s relationship with Big Talk. They seemed like just a group of friends making stuff together and doing it at a very high level.
Joe talking to Jack Giroux for Film School Rejects
I wanted to get into the essence of being a silent actor and for that to play you have to have the thought process going on in your head.
John Boyega talking to Rob Carnevale for Indie London
“I’ve been trying to write a screenplay since I was about 13,” he laughs. “I could never finish one. I had amazing first acts and loads of ideas for endings, but I suffered from the same problems everyone has – the middle act black hole.”
Joe talking to GARRY MCCONNACHIE of MCMBuzz
In some sequences you would have the sound of fireworks, the sound of creatures screaming, and the music and you had to find a level where everything punched through.
Joe talks to Renn Brown of CHUD.com
To me it's not really about how much it makes at the box office, it's about knowing it's a genuine kind of honesty.John Boyega talks to Peter Hall with Joe for Movies.com
I’m just interested in action, and character development through action; I’m not enormously interested in long dialogue scenes.Matt Barone at for Pop Culture at Complex interviews Joe
When I toddled along to the first unveiling of new Eterna Vivid 500T it took me about two minutes to decide it would be ideal
Tom Townend talks to Quentin Falk about using Fuji's film stock (for Exposure)
I’m a bit less street than Prince Charles and there was no way I was going to go Westwood on anyone’s arse
Joe talks to Simon Jablonski of DazedDigital
Well the actors are less cooperative. You can’t stick things into them. You can’t use a hot glue gun to glue their costumes to their skin as much as you try.
Joe talks to the NUS
"I mean, there used to be a tradition of anti-heroes in movies, but that's kind of disappeared."Jim Slotek of QMI Agency for Toronto Sun
"When you watch so-called hood-related stuff," says Howard, "you always know what it's going to be. Gangs beefing gangs. Someone gets robbed, someone gets beaten up. Happy days. Attack the Block is different."
The Observer's Tom Lamont talks to the young stars
Hollywood seemed kind of terrifying to me. But in Britain I had a television career and a radio career and was known in a much smaller circle, so that to me was a cozy, comforting place to make my first film.
Joe to Peter Hall for Moviefone
Mike Ryan talks to Joe and Edgar for the GQ&A
It's something that I take very, very seriously and something I’m very, very passionate about.John Boyega talks on the phone to Global Grind
I have this thing about CGI monsters in contemporary movies: They're very "samey" to me. Like the dragon in Harry Potter could wander into Cloverfield and no one would bat an eyelid. And then he'd wander into Battle: Los Angeles...it's like the same monster is casually strolling between blockbusters.
“After some scenes, I would give the aliens a stroke and that’s when you see their cute side. Although inside the costume, it’s an angry stunt guy thinking, ’What is wrong with this kid?!’”
John Boyega talking to Ben Hopkins of Clash Music
I’m a big yeti fanatic. I was born in 1968, which was the year that the Patterson big foot footage was filmed.Joe talking to Dan Brightmore for Sabotage Times
I watched Raiders before, and if you listen to the Raiders score, it’s elastic, it fits the action, and the tempo get faster or slower as the action gets faster or slower and I wanted a score like that a slave to the action
Joe talks to Damon Houx for Screencave
I tried giving it a few times but they didn’t respond. But it was brilliant as I felt really young and we are young, but it felt like we were back at high school, in a brilliant way that anything’s possible, and Joe is like that. He’s a 42-year-old child, and its brilliant to be around so you felt that we all just taught each other stuff really.
Jodie & Luke talk to The Fan Carpet
I used to be very good at drawing the Stay Puft marshmallow man, and the Ghostbusters logo.
Joe talking to Matthew Turner for View London
I think that Moses gets the bravery to fight an alien invasion not only from fear, but from the love of these boys.
One small snag was that Cornish wanted plenty of lens flare…“And of course the main selling point of Cookes is that you can shoot into light without any flare! But I believe if you want something, you should make it happen rather than just let it happen,”
Tom Townend (Director of Photography) talks to Arri Media
It’s a trope that has slightly vanished from cinema because people are a bit frightened of antiheroes now. People are very keen to make the protagonist sympathetic in the first act, give him a wife and kids, have the kid be kidnapped.
It’s a movie with kids on dirt bikes hacking at aliens with samurai swords, so I don’t want to get too deep about itJoe talks to Mr Beaks for Ain't It CoolTo be honest I had no idea what Edgar looked like before I met him. I only new he was a director. I imagined to be very tall and would wear a cape.John Boyega talks to FAULT Magazine
He always enjoyed getting on stage; his first role was as a daffodil in the village pantomime. "My dad was the big bad wolf, so I remember seeing him with big ears panting his way across the stage. That's my inspiration from when I was three," he smiles.
Luke Treadaway talks to Patrick Barkham at The Guardian
The worst thing is how quickly you have to do it and I had no idea how hard you have to work, how little sleep you get and how quickly you have to do really important things you planned for years and then you have ten seconds to do it.
Joe talks to the NUS
I don’t think it’s an incredibly radical premise to try and have sympathy for someone who has made a mistake. I think you’ll find it in the Bible quite a lot, and in various faiths; for me it’s quite a simple dramatic premise
Joe for Paul Gallagher at The List
Film is like a crowd thing. You’re going to watch it with a crowd, it’s got to play with a crowd so to expose it to other people is the best thing.
Daniel Schweiger talks to composer, Steven Price for Film Music Magazine
Joe really did write a fantastic script. I found that as long as I responded honestly to the way each scene was played, the tones were all there for me in the way the film was put together.
For me this movie is half reality and half bullshit, and I wanted to make the reality as real as possible and the fantasy as fantastic as possible
If you go through art and culture and eliminate everything that isn’t based on the author’s first hand personal experience, you’d lose the vast majority of it.
Joe talks to Ben Kirby for Cherwell.org
It was very important to me that they were bestial, that they were quadrupeds, because I wanted the audience to have a sense of what they could do, and therefore put themselves in the minds of the characters subconsciously.
let alone an interview with Joe.
It only became a double act because I was such an ego maniac that I bullied my way in front of the camera, but in truth I was always much happier behind it.
Joe talks to Jamie Dunn for The Skinny
“The speed at which you have to shoot a film is really tough, it’s like being on some evil version of Supermarket Sweep where every minute costs you hundred of thousands of pounds,”to Henry Fitzherbert of The Express
I barely saw my girlfriend or my family - and I missed my brother's wedding!
There is more in the hard copy.
One of the points of this movie is that they're children, and that they're children growing up in really difficult circumstances, and these social problems affect kids, and they're often not culpable.Joe talks to 24 Frames for the LA Times
I had an idea pretty early on in the process, of how to do the creature, and it was based on memories of the ring wraiths in Ralph Bakshi’s Lord of the Rings
& has a nicely comped poster/premiere picture
Over the Edge is absolutely one of my favourite films. It’s quite an influential film in America. It’s famously Kurt Cobain’s favourite film. Larry Clark is very influenced by it.
Joe talking to Sam Price of Don't Panic
"Meeting those guys was like meeting my maker," Joe says, "Spielberg and Jackson's films are hugely important to me. But I didn't giggle. I got on with the work. I put it out of my mind who they were in order to function, but every now and then Spielberg would say, 'When I was making Jaws…', and suddenly my mind would freeze as I was reminded."
Eva Wiseman's wonderful piece for The Guardian
It was quite surreal watching a film that was made in the dark in Elephant and Castle, being screened in Texas.
Luke Treadaway talks to InStyle
"I think anybody's first film, there's going to be some hurdles," Wright added. "Even if you are going to hit those potholes, I could at least impart to Joe what problems I went through with my first film and what he could do to avoid them or just be aware of them."
I always wanted to make a 90 minute film. That we came a few minutes under is merely the result of twisting the tap a couple of turns tighter in the edit just to keep things as lean and mean as possible, which was always the idea.
Lauren Laverne had Joe and Nick in the studio for a chitty chat which you can listen to here (complete with unrelated but gorgeous picture). She wasn't the only 6Music tottie that got a piece of delicious cornballs as with great pragmatism, Joe arrived a few minutes early for their Adam and Joe show last week for Nemone and relived the memory of sitting in that studio before 10 am ...the days when being a Black Squadron op was a gritty task rarely committed to camera.
Here's what went on when Claudia Winkleman interviewed Joe late one night.
It goes without saying that Empire, Total Film and all the news stand regulars have interviews and reviews.
Attack the Block Index
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