We sat down with Peter Lee, director of Angelfish, a Bronx based romance set in the summer of 1993. The Dublin, Ireland native moved to New York City three years ago. Weaving himself into the fabric of the city, the talented director developed an ageless love story that captures the essence of “pre-gentrified” New York. Our talk revealed an interesting journey from the Emerald Isle to directing his first feature film in America.
How did you get into directing?
I genuinely thought, to be a film director was like me saying, “I want to be an astronaut.” Growing up, I knew 3 film directors: Spielberg, Tarantino, and Scorsese. That’s about as many astronauts that I know. Also, growing up in Ireland and living in the UK, the American film industry seemed so far away. It was almost like America was the place where you go to make movies, but over here we have normal jobs. So much so that I actually studied religion at The University. I was getting educated, but I knew that this was not what I wanted to do. Looking ahead, I knew that there was no job that I wanted to do. I wanted to be involved in film. During my third year at University, I used an elective and made a film. It was a terrible film but I loved it. I loved the process more than anything. The day after I handed in the final work for my program, I was on a plane headed to New York. While my friends were at graduation throwing their hats in the air, I was working in a basement at NYU film school.
That took a lot of courage
I value the experience, but once I got into film school it was like a weight off my mind. Then I knew what I was going to do for the rest of my life.
Coming from Dublin to New York, how hard was it to create such an authentic New York film?
One thing about coming to New York, I have an outside perspective, one that the rest of the world has. I don’t think you understand that this is where everyone wants to be. As a kid in Dublin, watching all of these great New York movies, I’d see things like “Captain Crunch.” You see it but you’re saying to yourself, “what is this?”(laughing) I never approach this like I’m going to be the best person to represent the Bronx. There was a lot of research and then we also brought in people from the neighborhoods to maintain authenticity. That’s why casting Princess Nokia (Eva) was so important as she is a true New Yorker, with roots all over the city. I told her that I wanted her to bring her experience. Even if we were in the middle of a scene, she was able to stop it and say that it didn’t feel right. Through all of that, I wanted to hang on to the love story, because that’s universal whether it’s the UK or wherever.
You did that and more, with two wonderful performances from Jimi Stanton (Brendan) and Princess Nokia (Eva)
My perspective as a director is two-pronged. If I see an actor is trying to get somewhere emotionally, that’s all that I need. It’s my job to give them the environment to access that. I don’t like to enforce a style on an actor. We had Jimi who came from this extensive television background and Princess Nokia, who was so artistically involved and finding her way, which was lovely to see. She has this powerful honesty about her. Jimi has a similar honesty and strength but he brought this wonderful vulnerability as well.
It sounds like you created a team environment on this project?
Finding your key collaborators is one of the most important things. My producers Robin Rose Singer and Rabia Sultana were instrumental to the entire process. From pulling together their collective resources to form our wonderful crew, to every day on set working to get the best out of everyone involved.
What’s next for you?
It’s in the early stages right now. A true story that I can’t believe has never been told, yet. It’s stranger than fiction and it’s dark. I’ve always perceived my career in that I want to tell a love story. I want to tell a crime story. I want to shoot a western. I’d love to do a musical…I know the musical will probably be the last thing that I ever make, being the hardest thing imaginable to do.
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