Known primarily for his dramatic work across our screens for over three decades now, Jeremy Lindsay Taylor is embracing a new comedic persona in the audacious Audrey, a twisted, razor sharp film, both gloriously absurd and strangely relatable. Its black comedy at its best, inspired by modern classics like Muriel’s Wedding and Jennifer’s Body.
As a husband and father figuring out his own sexual interests in the later stages of his life, Taylor throws his all into his latest character, a figure he describes to our own Peter Gray as “hilarious and sad.”
As Audrey arrives in Australian theatres this week, the two spoke about first script reactions, exploring the complexity of his character within the comedic space, and the at once necessary but terrifying reality of social media for an actor in the industry.
We’ll just say, you are introduced in this film in quite the memorable manner. What was your reaction when you first read the Audrey script and realised where it was going? And what was asked of you?
(Laughs) Well, Peter, to be honest, after 30 years in the business I’ve never read anything like it. You kind of don’t know where it’s going, and that was instantly attractive to me. You question as to whether it can actually go that way or not. It’s got to be one of the funniest and most insightful character introductions I’ve ever seen. You know, this poor guy, he’s sexually repressed, he can’t seem to get an erection, his daughter just belittles him, and then the dog takes his “toy”…it’s soul-crushing. It’s hilarious and sad.
And when I read the script, it all just jumped out at me. I fought so hard to get this character. I knew him as soon as I read him. I really wanted to do him justice by playing him, so I went hard after it. Thank you to the team for trusting me with him.
One of the things I really appreciated was how the film explores sexuality, but it does it in a darkly humorous way. For you, did you have an approach in balancing the humour with the complexity of this character?
Yeah. To me, comedy is funny when it’s real. When it’s authentic, that’s when I’m laughing. It’s not played for a gag. You don’t know there’s a gag when you’re watching it. It’s all situational. His family is dysfunctional, and a lot of the humour comes from that. I just try to be authentic as humanly possible to really become this character. I changed my appearance quite a lot (for him). My physical stature. He’s a human question mark at the beginning. Lou Sanz (the writer) called him “the sad clown”, which is a great description. I mean Lou’s script is so brilliant that we didn’t need to change anything. I didn’t add anything. I didn’t improvise. I just said it as I meant it. As long as I hit it authentically it’ll get the laugh. And it did.
I’ve always felt like comedy can open up conversations around sexuality and identity in a way that drama can’t.
Absolutely. Lou Sanz is just a genius. She comes from stand-up. Very smart, very witty, very funny, and very courageous. And coming from stand-up means she has a thick skin. There’s no more vulnerable a place than standing up in a bar, where people are drinking, and doing a set. And I love the tone of the film. I think once the heads of all the departments knew what we were doing, it was like, “Wow, this is something pretty special.” Everyone really went for it.
As you said, everyone in the film really went for it. But for you personally, how do you find comedy as a performer? Because I obviously know you from more dramatic projects, but here? You’re really fucking funny!
(Laughs) That’s awesome. Thank you, Peter. Oh look, I loved it. I’ve always thought I’m kind of funny, and maybe I could be funny. My wife thinks I’m funny. My kids think I’m funny. It was just more a case of getting a shot at it. Just recently I’ve found myself doing little bits of comedy in things like The Family Law and Black Comedy. It started small and it’s trickling along. I love it. It’s a joy. And it doesn’t cost you as much, both physically and mentally.
And on the industry side of things, Audrey looks at social media in a certain way. It feels like it’s such a massive part of the industry now too. How’s that shift been for you?
It’s an interesting question, because there was none of it when I was coming through. No social media and auditions were all in the room. Now, it’s self-taping. For me, as a parent, (social media) is terrifying because I can see the damage of what too much device time can do. What it can do to people’s mental health is pretty evident from what we see globally.
For me, I don’t have any social media. I don’t even have Facebook. It could be said that I may have missed out on jobs because of that. I don’t have any followers (laughs), apart from those that watch my movies or TV shows. And how do you prove that? And I’ve done that deliberately, and I’m glad that my representation have never pushed me into doing that. As a young actor coming through though? I think it’s necessary, unfortunately. You just have to find the fine line of keeping it safe.
Well, if you have any followers, I’m one of them. It was so lovely talking to you earlier in the year, and when this opportunity came around I knew I had to speak to you again. You’re such a warm presence and you’re so wonderful in this film.
Oh, Peter, an absolute joy.
Audrey is screening in Australian theatres from November 7th, 2024.
