Fantastic Fest Interview: Ant Timpson Says Come to Daddy

How an old grieving tradition gave the filmmaker a new energy

Elijah Wood in Come to Daddy, the directorial debut of Ant Timpson

Ant Timpson is (in)famous in genre circles as the producer of such gory gems as Deathgasm and The ABCs of Death. So when he announced that his feature directorial debut would be a family drama, that threw a few people. But should it be so shocking? Not really, said Timpson. "We've all got daddy issues."

That may seem a little blithe about the film, which receives its Texas premiere at Fantastic Fest this weekend, but there's more than a morsel of truth about the roots of the project. In it, loser hipster trust fund baby Norval (Elijah Wood) heads to remote Oregon for a long-delayed reunion with the father he never really knew, Brian (Stephen McHattie). Of course, this being Timpson, the reunion takes a strange and dark turn, but its roots lie in something very personal: the actual death of his own father. Or, as the blunt-speaking Timpson put it, "It all stemmed from watching my old man cark it in front of me, which was very traumatic."

This was when an old tradition entered his life: the habit of laying out the dead in the house, and sitting up with them. The idea came from his father's partner: "[She] thought it was a good idea to have the embalmed corpse come back to his house for five days, so we could go through a grieving process – which we though was rather Addams Family style, but in hindsight was actually a really incredible thing to do."

And then his father's partner, "she skedaddled. She was like, I'm going to leave ''you kids' to spend time with your dad to do your own grieving." During the day, there would be many visitors ("he was quite a well known business guy and sports guy," said Timpson) but at night, and during the long stretches of the week when the rest of the family were busy, it was just him and his father's corpse. "And because I've watched a lot of horror movies – and a lot of movies in general – I based my actions around what I thought was the right thing to do, which was go downstairs in the middle of the night and have these heart-to-heart conversations with a corpse. All I did was stare at the body and expect it to pop up like Christopher Lee from a Hammer Horror movie."

“You have this image of who your parental patriarchal figure is, and then you hear all these other stories that make up the fabric of who he is.”
Then there were all those visitors. Many of them were family or friends of the family that he recognized, "and that was really heartwarming, but then there were people who I had no idea who they were, who had these really strange stories about my father that I was like, 'This really doesn't make sense.' You have this image of who your parental patriarchal figure is, and then you hear all these other stories that make up the fabric of who he is. My darker side suddenly started coming up with, 'Well, if I didn't really know that about him, what if he had this history?"

Those elements – the homecoming, the unspoken conversations, the strange revelations about someone you thought you knew, all fed into Come to Daddy. Yet there was also the grieving process itself, and the benefits of the laying out. "I really felt reinvigorated," said Timpson. "I suddenly felt life is very short – literally watching you dad dying in front of you does that, strangely enough – and I wanted to make something. Not necessarily as a tribute to him, but I feel it would make him proud, because he was always supportive of my film interests. I started off as that crazy kid making home movies, and then I just moved away to help everyone else just realize their dream. So I though, I'm just gonna do it for me, do it for dad, and just -do- something."

That's when he brought on The Greasy Strangler cowriter Toby Harvard to help him with the script. "I pitched this idea of this gritty, low budget film, shot in the actual house where dad died. Let's do this thing that's spooky and creepy, but very heartfelt, so let's call in some favors and make it."

Of course, Timpson has a lot of favors to call in, which is why his small movie features McHattie, Michael Smiley, and, of course, Wood. Still, Timpson was careful about being, well, that guy. "I don't ever want to ask someone, to put them in that position where they're obligated to give you an answer. But a lot of people had done it to [Wood] over the years, and he's a pro, so I felt comfortable sending it to him to look. ... He just loved the whole script and the character, and from there it really took off."

Of course, this being Timpson and Harvard, there's a certain twist, an over-the-top visual element that expresses itself through the sleazy, skeezy characters. Take Smiley's gangster Jethro, who looks like the bastard child of a Doobie Brothers roadie and the Child Catcher from Chitty-Chitty-Bang-Bang. The character was designed to be someone who felt like they should be living a movie, "with this theatrical component," Timpson said. "I did a mock-up, using my brilliant PhotoShop skills, of what they could look like, and he came out really close to that."

And then there's Norvil's hair, potentially the worst 'do Wood has had to sport since Frodo's shaggy bowl cut. That was one place where Timpson was worried his humor and sense of the grotesque was going too far. He worried that "[Wood's] going to push back, he's not going to let me go gonzo and make him look really extreme and silly. His big thing was that he just didn't want the character to be a cartoon, and I was like, 'It's just a hair cut. It lays the framework.' So we had some robust conversations and I realized, 'Oh, man, he doesn't care about that, he's just more concerned overall, that there has to be some human connection to the audience, and he's not just some annoying caricature."

Fortunately, while Smiley's look was far more extreme and absurd, his haircut was less hassle. "He had a wonderful wig," said Timpson.

Come to Daddy

Texas premiere
Sun., Sept. 22, 11:30pm with director Ant Timpson in attendance
Thu., Sept. 26, 8pm

A note to readers: Bold and uncensored, The Austin Chronicle has been Austin’s independent news source for almost 40 years, expressing the community’s political and environmental concerns and supporting its active cultural scene. Now more than ever, we need your support to continue supplying Austin with independent, free press. If real news is important to you, please consider making a donation of $5, $10 or whatever you can afford, to help keep our journalism on stands.

Support the Chronicle  

More by Richard Whittaker
Tribeca Film Festival Review: <i>Accepted</i>
Tribeca Film Festival Review: Accepted
The education scandal that put the lie to TM Landry's success

June 15, 2021

Tribeca Film Festival Review: <i>No Man of God</i>
Tribeca Film Festival Review: No Man of God
Latest Bundy biopic is a portrait of the investigator

June 15, 2021


Fantastic Fest, Fantastic Fest 2019, Come to Daddy, Ant Timpson, Elijah Wood

One click gets you all the newsletters listed below

Breaking news, arts coverage, and daily events

Can't keep up with happenings around town? We can help.

Austin's queerest news and events

New recipes and food news delivered Mondays

Eric Goodman's Austin FC column, other soccer news

Information is power. Support the free press, so we can support Austin.   Support the Chronicle