How 'Lurker' Director Alex Russell Exposed L.A.'s Dark Music Scene at Sundance

On the initial day of shooting his directorial debut, “Lurker,” Alex Russell found himself in a situation where he likely had the least amount of on-set knowledge compared to everyone else present.

34-year-old screenwriter-director, who initially found his footing in FX’s “Dave” writers’ room and later took on writing and production roles for “The Bear” and “Beef”, admits he was clueless at the start. However, when filming the first scene involving the main characters, portrayed by Théodore Pellerin and Archie Madekwe, Russell felt a sense of relief. He even shed tears that day, feeling reassured, saying, “That was the only time I cried. I thought to myself, ‘We’ve got a film.’

The film eventually gained significant acclaim, debuting at the Sundance Film Festival for the first time in Russell’s career in January. It received industry excitement and glowing reviews. “It felt like a dream come true,” he explains, “because people genuinely enjoyed the movie.” He was nervous right up until the last moment, as he knew that audiences could either embrace or reject his work.

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The film eventually became highly praised, making its premiere at the Sundance Film Festival for the first time in Russell’s career in January. It generated industry buzz and received rave reviews. “It was like a dream come true,” he says, “because people genuinely appreciated the movie.” He was on edge until the last minute, as he knew that viewers could either embrace or dismiss his work.

The movie titled “Lurker,” penned by Russell, focuses on a retail worker named Matthew (Pellerin), who finds himself within the inner circle of Oliver (Madekwe), an up-and-coming pop star on the brink of fame. However, as their bond deepens, their relationship takes on a chilling twist. Russell drew inspiration from his personal experiences within the L.A. music industry and enlisted the help of friends such as rapper and actor Zack Fox and producer Kenny Beats to bring the film to life. The production process spanned approximately four years.

As a movie critic, I’m thrilled to share that my latest film, “Lurker,” has been acquired by Mubi, following a competitive bidding war at Sundance, for a significant sum in the mid-seven figures. This Friday marks its international debut at the Berlin Film Festival. Here, I delve into the genesis of this gripping project, the process of casting talented actors like Adewale Akinnuoye-Agbaje (Madekwe) and Suzanne Clément (Pellerin), and offer a sneak peek into my upcoming creative endeavors. Stay tuned!

What was the origin of “Lurker”?

2020 marked the initial wave of the COVID-19 pandemic, and I had recently secured my first TV writing job. Suddenly, everything came to a halt. With the world at a standstill, I found myself thinking, “Now’s my opportunity to tackle something more substantial.” And that’s exactly what I did. The stillness of the world seemed to give me clarity, enabling me to complete this early draft in just a few months. It was as if an idea had bubbled up within me – it felt like I was unloading some inner thoughts about my surroundings.

Was it always the plan for you to direct the film?

Initially, the notion that this film would see the light of day was merely a distant dream. The objective was to bring closure to a 100-page script. However, when there was a spark of interest in the script, there weren’t many clamoring to take on the director’s chair. Given the unique tone of the story, it seemed a fitting challenge for me, despite my lack of knowledge or experience in the field. Some believed I could pull it off, and fortunately, their faith was not misplaced.

The film explores the contentious behavior that goes on in the clout-chasing world of L.A.’s music scene. How did your own experience in that world inspire it?

The central theme of the film, which some might find hard to grasp, is the intense competition among these boys within their hierarchical structure. While it’s dramatized and I haven’t witnessed such events myself, it’s plausible given the context. Some people have described it as incredibly realistic while others find it unbelievable. Yet, this world isn’t alien to me. One doesn’t need an in-depth knowledge of this specific environment to understand the power struggles portrayed. The story could easily have been set in a fraternity or a graduate school – any place where a group of young men can form a hierarchy based on their own rules.

What was your inspiration for Oliver? A few people came to mind: Brockhampton’s Kevin Abstract, Dijon, Rex Orange County, Dominic Fike…

Indeed, Dijon and Rex Orange County collaborated on writing one of the songs. This style can’t be easily categorized as it’s a blend of various influences that might come to mind. There wasn’t a specific blueprint or single muse for this genre. However, if you’re pondering anyone, chances are they’ve inspired Oliver in some way.

The character was initially conceived as an American, but when we decided to cast Archie, we considered employing a dialect coach, but then we pondered, “What if he’s British? Would that hinder us?” But we quickly responded, “No, it would benefit us.” I believe making Archie British introduced a subtle distinction between him and the rest of the group. This difference subtly emphasized his power, and also helped to differentiate us from some American artists who are often associated with this genre. Even within the sub-genre of DIY pop that Oliver is creating, which blends various genres so uniquely, I think this is the essence of the character I was trying to portray. In essence, Archie is a contemporary figure, embodying the spirit of 2018, or the period in question. It’s possible that Archie secretly aspired to be like some other artist, or to emulate a British version of that artist, and the ‘British’ aspect might throw you off the trail of this intention.

Tell me more about casting “Saltburn” breakout Archie Madekwe as your pop star, Oliver.

In the role of Oliver, a blend of charm and vulnerability was crucial for a more dynamic performance. A mere portrayal of a rising pop star with detachment might have left the film somewhat shallow. However, as we progress into the second half, revealing his emotions becomes essential, demanding an actor who can convincingly delve deep. Upon first encounter, I sensed this potential in him. In real life, he exuded charisma that left me questioning whether he liked me or not, which is a key characteristic of Oliver – people are drawn to him because they want his approval.

And how about the titular lurker, Théodore Pellerin?

To begin with, it was unexpectedly the first video I ever watched, and it left me astounded. There’s something sincere about it – if that sounds a bit cheesy – but his expressiveness is captivating, and you can see so much in his eyes, his thoughts, and yet there’s still a sense of mystery. You can tell he’s calculating, but you never truly know what his next move will be, which adds to the allure of this film.

Movies like this, with an obsessive character, are not unfamiliar to us. However, a significant part of this actor’s performance is unforeseeable. Is there a gentleness to him? Do I feel compassion for him? Am I cheering him on? Am I disappointed by his actions? Am I identifying with him in any way? That’s what makes this movie enjoyable, essentially.

There’s also a really fun supporting ensemble, including Zack Fox and Sunny Suljic. How did they get involved?

Zack and I have been good friends for over ten years, and I’ve always wanted to include him in this film because I knew he’d bring a lot of realness and wit to it. He’s sort of an improv master – when you provide the right starting point, he can make his performances feel natural and spontaneous. It was amusing that it took several years to produce this movie, and as we reached our 30s, it became necessary to acknowledge him as the older one in the group. There’s even a brief scene where Matthew asks, “How old are you?” I believe that detail wouldn’t have been included if we had made this film three or four years ago.

Sunny was surprisingly fitting for the part in the L.A. movie scene, deeply immersed within it. Thus, he grasped everything happening on set effortlessly. Initially, I had reservations about him being a former child star; I thought I should tread carefully. However, Archie was the one who suggested Sunny for the role. They had collaborated in a music video together, I believe for Zach Bryan, a few months prior. We met at an iHop in Hollywood, and he sported chains and wore his own clothes. I thought, “This kid is a megastar – he might find this character too insignificant.” But as we conversed, I realized he was incredibly humble and kind, well-adjusted considering his Hollywood lifestyle. He turned out to be the most endearing young man, winning everyone over. You might anticipate his behavior based on expectations, but he proved to be so charming that it was disarming. As an actor, this seems to be his first adult role, and he truly embraced the challenge.

Kenny Beats did both the original music and score for the film. What was the process like working with him?

Kenny and I go way back. We’ve often discussed collaborating on projects such as this one, and the timing couldn’t have been more perfect. Kenny had been eager to compose a movie score, and fortunately for me, I had a friend with an exceptional talent for creating music within this specific sub-genre. I was fortunate enough to provide him with the chance to produce a unique and fresh score. In any genre, at any time, Kenny can effortlessly create captivating songs. So, when I asked if he could compose a few songs for Archie, it was almost comical how quickly he delivered. Within just two days, the movie’s soundtrack was complete, requiring minimal direction from me because I knew exactly what kind of music Kenny excels in creating.

In this film, he gathered a variety of talented musicians, authors, and instrumentalists. Authentic strings are indeed featured here. The process of bringing them together resembled his method for creating rap music, where he’d summon artists like, “Come to the studio,” on the spot. For instance, he might say, “Let’s get three violinists to the studio immediately. Tell the oboe player to come too,” which is quite amusing. However, if something didn’t seem fitting, he was swift in coming up with an alternative that did. He prioritized serving the film’s emotional essence over showcasing his own coolness.

“Lurker” ended up in a competitive bidding situation out of Sundance. What made you go with Mubi?

In our recent discussions, we’ve had incredibly stimulating creative exchanges about this film. I believe they grasp its appeal as something unexpectedly intriguing and multi-layered. This seems to be a common sentiment among viewers, and it’s reflected in many reviews as well. Mubi, being the distributor, is at an exciting juncture where they can amplify new voices and nurture filmmakers, particularly post-“Substance.” They are genuinely invested in this movie, and I think it’s essential to collaborate with individuals whose vision aligns with your own. This synergy will be evident in the marketing materials, even down to the trailer. There’s a risk that another distributor might mislead audiences by promoting it as a horror film, but its distinct tone is more about tension and suspense rather than the violence one might anticipate.

What’s next for you?

This year, I plan on writing and see what emerges from it. I didn’t have to experience too many hard-learned lessons in my first attempt, but I feel that the next one could go awry. However, I’ll be better equipped for the challenges ahead. Now that I grasp the essence of directing, the upcoming project might take a turn for the complex. I hope they allow me to take on another one. I’ve found my voice with this, so I believe the next one will likely represent a refinement of a similar style. I don’t want to shy away from that.

This interview has been edited and condensed.

2025-02-21 12:18

How ‘Lurker’ Director Alex Russell Exposed L.A.’s Dark Music Scene at Sundance