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Transcription

KiDULTHOOD SYNOPSiS:
It’s just another day at school for West London teenagers Trife (AML AMEEN) Jay (ADAM DEACON) and
Moony (FEMI OYENIRAN): beatings in the classroom, sex on the playing field and drugs in the schoolyard.
But things are about to flip sharply for this tight trio and their crowd. With school cancelled following the tragic
suicide of bullied pupil Katie, the teenagers are all forced to face their own responsibilities and blame for the
situations they have got themselves into.
15-year-old Trife is facing a crossroads in his life. His uncle is tempting him with fast money, easy women
and the gangster lifestyle; while his girlfriend Alisa (RED MADRELL) offers an escape to what she promises
will be a better life. Trife must make a choice. But with word spreading that Alisa has slept with someone else,
will he make the right one? Along with Jay and Moony, he also has the school bully Sam (NOEL CLARKE) to
contend with. Sam is out for revenge after Jay steals his girlfriend Claire (MADELINE FAIRLEY) who he has
been physically abusing and the trio (Trife, Jay and Moony) humiliate and beat him in his own house.
Trife’s girlfriend Alisa is also having a bad day. She’s just learnt that she’s pregnant. But her best friend Becky
(JAIME WINSTONE) is only interested in dragging her out on a drug and shopping binge. With the brother of
dead Katie set on revenge and everyone heading to the same party, the scene is set for a decisive collision.
It’s step up or back down time…
A harrowing, shocking story that finds humour in its narrative and set to a blistering UK Hip Hop and Grime
soundtrack, KIDULTHOOD is a new kind of British film.
Based on real kids. Real stories. This is real life.
ALISA: “Yeah, that’s proper grimy.”
BECKY: “I know, proper ghetto…”
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Q&A iNTERViEW:
Actor/Screenwriter: Noel Clarke
Age: 30
Winner of the Laurence Olivier Award 2003, you might recognise Noel from Dr Who.
KIDULTHOOD is a very personal project for him, a lot of the characters are taken from
real life people in his life and many of the scenes were created out of real life situations.
Producer: George Isaac
Age: 29
George’s first film NITS earned him a BAFTA nomination in 2004, won TCM award 2004,
was short listed for the Kodak award and screened out of competition in Cannes and
numerous other festivals. It just took one script read-through for George to know that he
wanted to be involved in KIDULTHOOD and he is now working on Noel Clarke’s second
script 4321, which he intends to shoot in summer/autumn 2006 in London and New York.
Director: Menhaj Huda (‘Huds’)
Age: 38
Former Music Video and Commercials Director Menhaj Huda directed and co-produced
KIDULTHOOD. Menhaj Huda was involved in all aspects of the production and filmmaking.
He had a clear idea of how he wanted Noel’s script to be portrayed, so that it was true to
the real-life experiences and characters that Noel used to write the film - using specific
artists and music within the film was a very important and integral part of this directing
process.
1. THE CONCEPT: Sex, Drugs and Hip Hop
What is the driving force behind KIDULTHOOD?
NOEL: The film touches a nerve. It’s on the pulse of what’s happening in society right now with young people.
How they behave and what they do. Kids these days are growing up too fast. It’s accelerated because of
technology and the media.
GEORGE: This story has already been told through the press, through television and news articles. We’re
just telling it through the medium of film.
Do you think people will be shocked by the film’s themes of bullying, sex and drugs?
NOEL: The film shouldn’t shock people because it’s in the newspapers every day! It’s constant. It doesn’t
show anything that isn’t happening. I was collecting articles for a year or so about teenagers getting up to
bad stuff. There’s at least three or four a week. It’s rife. I bet if I looked in the paper today there’d be something
about it. We can wear all the wristbands we want for bullying – or whatever - but that’s not going to stop it.
What will stop it are people becoming aware of the situation. Society has encouraged the film because bullying
in schools, kids in ‘hoodies’ and ‘happy-slapping’ – whatever you want to name it – is happening already.
The film is highlighting that. It’s not promoting. It’s not justifying. It’s not offering answers. It’s simply saying:
“this is going on. Deal with it.” A lot of people might see KIDULTHOOD as controversial but it is not meant to
be, my main aim for the film was for it to be as true to life as possible.
KIDULTHOOD seems to be the first film to specifically address British street culture.
MENHAJ HUDA: I had made a short film about eight years ago called JUMP BOY, which touched on the
same street culture. I had been looking to do a similar feature length project ever since. When I read the
KIDULTHOOD script, I knew this was it. It’s the kind of film that I want to go and watch. It’s the kind of film
that I’d seen from all sorts of other countries - from City of God to La Haine – but never from here. I know it
exists in Britain. We have the potential to make films like this and there’s an audience sitting there just waiting.
That’s why I wanted to do it.
What makes the film’s approach so different?
GEORGE: There’s an honesty factor in the way we’ve told the story. Other films would try and be more
worthy but we do it in a brutal way. We don’t fudge around the issues.
HUDS: People have picked up on the lack of intrusion from any adults or parents in this film. That’s deliberate.
It’s written and visualised from the perspective of the kids. Even when parents are around, they’re not within
the kids’ field of vision. That disturbs people but that’s very real from a teenager’s point of view.
Who is the film for?
NOEL: It’s for kids like the characters in the film. Kids facing hard decisions early on in their lives and also
for people from an older generation who want to understand and get an insight into what life is really like for
some kids nowadays. Because anything that kids get up to, they do when their parents are out. All parents
think, ‘not my kid!’ I used to ask my mum – in all my sweetness - what shifts she was working for the week.
If she said Monday and Tuesday, the girls would be round on Monday and Tuesday for all sorts of
shenanigans in the house. They’re out the door at 8.30 and Mum’s back at 9! That’s what kids do. It’s real.
Are these kids misrepresented in the media?
NOEL: Definitely. The three main characters in the film all wear hoods but they’re not really villains.
They’re just kids. It’s just an item of clothing but people need something to latch onto when bad things happen.
While this film represents kids in society today, it does not represent all kids in London. It represents this
particular group of kids on this particular day. If you caught them on the Wednesday, they might just be going
to the cinema. You just happen to catch them on a Thursday and it just happens to be a particularly bad day.
2. PRODUCTION HISTORY: From the Street to the Screen
Was it a difficult project to get up and running?
MENHAJ HUDA: I optioned the script from Noel and started developing it with him. I was really interested in
telling Noel’s story. I didn’t want to take it away from him. We started looking for money back in 2003. We put it
out there and had a great reaction. It was on people’s radar pretty quickly.
GEORGE: Huds first came to me in August 2003 with KIDULTHOOD, which he thought had great potential,
although at the time it was under option with another production company. I was shooting a short at the time in
Leeds with the Director of Photography Brian Tufano. I started up my production company Cipher Films at the
beginning of 2003 and got back in touch with Huds about the project, which I had been enquiring about relentlessly ever since my first meeting with Huds.
How did you make the small budget work for you?
MENHAJ HUDA: I challenge anyone to look at the film and tell us how much it cost to make! We shot it in four
weeks on 35mm.
GEORGE: We also knew a key element was having Brian Tufano’s lighting. The magnitude of what he can
create with a very limited budget is incredible. We always knew what life we could bring to the film.
We also got support from brands such as Boxfresh, that target the same kids we hope to reach and that
KIDULTHOOD is all about, so they could see how supporting the film through clothes sponsorship would be
mutually beneficial – for them it reinforces the brand image of Boxfresh as a very young, current, street label.
“KIDULTHOOD is the most significant British youth culture film since Trainspotting. It reminds me of a
modern day Quodrophenia, and truly reflects what the kids are up to today. KIDULTHOOD is a hardhitting and gritty reflection of modern day British urban life”. Roger Wade, Creative Director, Boxfresh
3. LOCATION: West London Calling
All of you are from West London, how important is the setting of the film?
MENHAJ HUDA: I’ve lived in Ladbroke Grove/Harrow Road area for 15 years, which allowed me to know
exactly what Noel was talking about and where the script was coming from, and our need to shoot around
West London. Of course it was a dream to shoot a film on your doorstep every day! In fact we used the
exterior of my flat in one shot.... try and guess which one….
NOEL: Essentially the story could be told anywhere. Most kids in this age group will be able to relate to the
themes within the film in one way or another, although it might not be through the specific situation shown in
the film. I have seen enough things come from South and East London so I thought it was time that West
London was represented in it’s own way. That’s why I was adamant that it was shot around there. When you
do see films about West London it’s all Julia Roberts and Hugh Grant! You know, Notting Hill, Four Weddings,
Actually Love… or whatever it’s called, and Jones. All of that stuff! I thought it was good to show another side.
GEORGE: Coming from West London, I was immediately struck by the accuracy of the story. I actually
bumped into a lot of old faces from the ‘street’ during filming, which was weird. We wanted to keep the film
as ‘real’ as possible which meant going back to some of these old haunts, but this time with hundreds of
pounds worth of camera equipment which the new kids on the block were quite gob-smacked by, it even
meant bringing in security on occasions.
Other films just haven’t reflected the cultural crossroads of West London. West London is one of the few
places where you have wealthy individuals living alongside people from a lesser background. They co-exist
together and that doesn’t really happen in other places. Also, if you shoot in East London for example, it’s a
very monochromatic look. With West London you have period houses and nearby an absolute contrast.
It’s visually very rich.
NOEL: Just down the road there’s Victorian houses and two minutes away there’s a council estate. Because
of that all these peoples’ social lives do inter-mix. I like that! Trife’s bedroom in the film was actually my
bedroom when I used to live with my Mum. The block of flats he lives in is where I used to live. It gave
authenticity to the film. Plus… it was all we could afford at the time! It was nice to see the actors Aml and
Adam sat on the bed where I used to sit with the real Jay years before.
4. CASTING: New Kids On The Block
How did you go about finding a new breed of actors?
MENHAJ HUDA: It was important not only to find a good cast but also a cast who could really relate to the
subject matter in one way or another. Right from the beginning we really went out to find the real ‘street’ kids
who could act, rather than cast child actors to play ‘street’.
Initially, we did a first round of casting in 2003 when it looked like the film might go through The Film Council
and Film Four. They asked us to do a read through - and we ended up casting the film for that. We met about
four hundred kids in open castings and sifted them through improvisation workshops. You could just see that
they were totally ready for something like this. After about three weeks, it was pretty clear who the main
characters were going to be. That was the first year and then it all kind of fell apart on the financing side.
We had to start the casting process again a year later. We saw another four hundred kids again. But we
brought back the original finalists at the last stage of the auditions and seven out of the original eight got
the roles.
Did the cast come together quickly?
GEORGE: The Moony (FEMI OYENIRAN), Jay (ADAM DEACON) and Trife (AML AMEEN) characters were
all in synergy from the off. The relationship between Alisa (RED MADRELL) and Becky (JAIME WINSTONE)
needed a good energy. We always knew that Jaime was going to be Becky so we needed to find someone
who was going to match with her. We found our lead female Alisa (RED MADRELL) in the second round of
auditions. She blew everyone away! From that moment on it was all in balance.
MENHAJ HUDA: Noel originally wanted to play Trife but I thought he was a bit too old! So he decided he
was going to play Sam but I wasn’t sure. We started improvising and he immediately proved me wrong.
NOEL: Those people that think I wrote the film so that I could automatically be in it are mistaken. Sam has
to really scare these kids. But I knew it wasn’t about actual physical size. It’s about the intimidation factor.
When we did the auditions I had to really get up there and scare the shit out of these kids to show them I
could do it! I definitely wanted to show people that I could play someone like Sam. He’s very different from
my easygoing character in Dr Who. I’m an actor so it’s my job to play different parts. But if people don’t give
you the opportunity to play them you have to create it for yourself.
Did the fact that the characters are based on real people
affect casting decisions?
NOEL: A lot. It was important for me to get a trio of boys just like
the friends I hung out with. I wanted the actors to actually fit the
real-life characters in terms of personalities as well. The humour
is very important. It’s not necessarily written to be funny but that’s
the best humour. When you’re out with your friends there’s
in-jokes that crack you up and nobody else knows what’s going
on. What we tried to do was create those little situations to get
the in-jokes out there.
5. SOUNDTRACK: Best of British
The KIDULTHOOD soundtrack will be released by Bullet Proof
Records prior to theatrical release of the film.
Soundtrack set to include THE STREETS, DIZZEE RASCAL,
ROOTS MANUVA, AUDIO BULLYS, SKINNYMAN, SHYSTIE,
K-LASHNEKOFF and LETHAL BIZZLE with bonus tracks from
LADY SOVREIGN, KANO, WILEY, MITCHELL BROTHERS,
SWAY, BLACK TWANG and PLAN B. For details of confirmed
artists, please contact Revolver Entertainment.
Was the music a crucial component from the start of the project?
GEORGE: The predominant thing we wanted to do was have a British soundtrack. Make it a true British film
by not using any US artists. When we were making the film we basically didn’t have a music budget but I told
Huds, ‘cut the film you want to the music you want and we’ll go and see how we can make that happen.’
MENHAJ HUDA: The moment I first read the script I thought The Streets has to be in this film. Where The
Streets and Dizzee Rascal are coming from lyrically and sound-wise is the same place this film is coming
from culturally. It had to tie in. This is the sound of London today: Audio Bullys, Shystie, Dizzee Rascal,
Roots Manuva and The Streets. They’re five big names that form the structure of the sound background.
Once that was in place I handed it over to George to see if we could actually nail the deal. We knew that
as long as we got the support of the artists and they understood where we were coming from then we’d get
the music.
GEORGE: It wasn’t a case of going through formal channels to be honest. It was a case of getting the artist’s
telephone number and getting them down to watch the film. It was as simple as that! They’re trying to do
something innovative in their own field and when they saw the film they understood that it’s something that
works for them too. The film and their music have the same audience. The opportunities for their music to go
on films are quite limited because of the scope of films being made. For us that was another advantage.
Thankfully they all came on board and supported us. I’m very grateful to all of them. It was also a real honour
working with Ian Neil who was one of the music supervisors on the film, especially as he has did such an
amazing soundtrack for Lock, Stock and Snatch.
The soundtrack is something that also really got the cast excited and into their parts too, having the support
of such high profile rap artists is a real inspiration in a film like this which is all about the ‘street’. Adam
Deacon, the actor who plays Jay was particularly interested in this side of the film as he also MC’s for a
band called Haunted House who do sets on pirate radio and also had a slot on Kiss FM.
DRAMATiS PERSONAE:
AML AMEEN ON TRIFE
“I play the character Trife, otherwise known as Trevor.
Trife is a young man who has never really had a father
figure in his life. His big journey in the film is the search
for what it is to be a man. I’m still searching at 20 years
old but it’s a question every boy must go through. The
conclusion he comes to is that he must accept his
responsibilities and not give in to peer pressure. At the
beginning of the film he faces two paths. On one side
are his friends, school and his pregnant girlfriend and
on the other side he has his uncle who appeals to everything that he craves, like respect, wanting people
fear him having been bullied at school himself, and money to take care of his mum. He wants to be a man
but he is misguided as to what a man actually is. But he makes the right choice in the end.
TRIFE: “Who the fuck you chatting to? Alisa I can have if I want to, but I don’t need her, and I don’t
need pussyhole friends like you!”
He is a leader to his friends Jay and Moony because he is the dangerous one. He lacks confidence. He
doesn’t want to show his vulnerability and he over-thinks life. Without his friends at that time he is nothing
but an aggressive bullied child. Playing Trife really helped me to understand how kids who are bullied often
turn into the bullies themselves so that they can hide from their own insecurities. Trife is very much driven by
his heart in whatever direction. I read the script, fell in love with it and wanted it. Trife and I have the same
heart in that sense. He really wants to be a man and I really wanted to take this character and do a good job.
We have the same passion just to be a good human being and get through life’s struggles.”
TRIFE (to ALISA): “I’ve seen some shit today and that’s made me think about life and you’re one of
the best things in mine. So even though it’s a next man’s baby, I want to be with you and look after
you, both. I wanna change for you…cos I love you”
ADAM DEACON ON JAY
“I play Jay in the film. He has a lot of mouth. He’s the joker
in the pack, making light of situations. He’s very hype, very
rowdy but there is an insecure side to him.
He worries a lot about what other people think of him.
Jay probably looks at himself as the leader of the group
anyway even though he isn’t really, so as soon as it all
kicks off he’s ready to be the main boy. He’s always trying
to downgrade Trife to make himself look like the bigger guy.
He sees Trife having this Uncle with a big name and always getting attention from the girls and is slightly jealous of that. Both Jay and Moony know Trife’s the bigger boy but that’s why they can’t really show that. They’ve
got to be like, ‘Who this boy think he is?’ It’s a lot of hype but that’s what kids are on at the moment.
Everybody’s watching each other. Everybody wants to be a big boy right now. It’s much worse now than when
I was 15, school and teenage life is hard – I don’t think parents realise quite how much.
I know people like Jay so it was easy to base my character on them and their situation. There are a lot of kids
like him who won’t listen to anybody. To him, he’s the big boy out there and nobody can say anything about
that. I got Jay from just looking at people from my area - East London, Hackney. He doesn’t have the mentality
to go back to college so whatever options he takes it’s going to be something gritty on the street.
Definitely nothing legit, maybe drug dealing or something. Probably sitting at home signing on! I don’t think Jay
is ever going to go too far.”
JAY: “You think Katie would’ve banged me as well?”
TRIFE: “Nah Man!”
JAY: “Why not, blood? I think I’m buff”
FEMI OYENIRAN ON MOONY
“I play Moony in the film. He could be perceived as a
coward because when his friends want to fight, he is a little
hesitant. He is a bit of a scaredy cat! His friends want to
do bad stuff and he just goes along with them.
He is worried about the consequences but he has to fit
within the group. Jay and Trife have more of a bond
whereas Moony is more of a follower, the tag-along.
There are loads of kids like Moony out there who don’t want to do bad stuff. They don’t want to be gangsters
but they go along with their friends who do. Nobody’s going to admit to being a coward like Moony but there
are millions of them and only a few leaders, he is actually based on a real character. His friends on the other
hand are adrenaline-fuelled and just go with the moment, Moony is the voice of reason. He is a good lad
really that just wants to have a laugh, but not to the extent where he’ll get into trouble with the police.
Parents will want their kids to be more like Moony.”
MOONY: “So what we gonna do?”
TRIFE: “Sam’s gonna be at school, blood. Only our year got the day off, right? We can say we’re his
mates, and we’re just picking it up. Simple. Or we just ding the bell, and get in the main door, and then
boot down his fucking front door.”
MOONY: “Nah man, that’s some police shit.”
JAY: “Look there’s three of us, let’s just ask for it, he’ll have to give it. If he gets brave at school we’ll
handle it together.”
MOONY: “But he rolls deep, man.”
TRIFE: “Fuck it, man, lets do it!”
RED MADRELL ON ALISA
“I play Alisa and she is one of the main characters in the
film along with Trife. You get to see how her life plays out
within the space of two days. Alisa has just found out she’s
pregnant. Her best friend Becky just sees her pregnancy
as annoying because she doesn’t want to go out so much!
You don’t see either Alisa or Becky at their best. When
the going is good they probably do have a really good
relationship but they’re not very well meshed at this point.
Becky is not the best person when it comes to looking
after a friend. She’s hardly a moral support!
BECKY snorts the coke. BECKY giggles.
BECKY: “Coke -head baby!”
They both crack up laughing.
ALISA: “Whatever! It’ll be gone soon.”
BECKY: “Thank God! I aint changing no fucking nappies for it. Hey look, there’s an abortion clinic
number here. Wanna bell it!”
“Alisa is in a very different situation from Becky. She is a lot more caring towards herself, the baby and her
boyfriend. Alisa has to go through everything with Becky not really there for her and it makes her realize that
she has to grow up and look after the baby. She understands that Becky is not going to be a good influence
in her life. Becky looks out for number one because she knows exactly what she wants. Alisa doesn’t always
know what she wants but by the end of the film she is at least trying to make what she thinks are the right
choices. And she does it on her own. She isn’t all talk because she does confront the bullies. Those are the
first steps that show she is going to make a difference. She’s actually going to follow through with what she
has to do despite her friend Becky telling her to keep quiet. She has bigger things to worry about now and
has stepped up from schoolyard stupidity. She just doesn’t care anymore! You feel that she is going to go on
and have a better life than the others.”
BECKY: “What’s wrong with you then, you look like someone just…”
ALISA: “Yeah exactly. I’ve been thinking about stuff. Me like this, Katie, y’know hanging herself.
I mean that’s really why we got the day off. Maybe we shouldn’t go to the party.”
BECKY: “What?”
JAIME WINSTONE ON BECKY
“I play the character Becky in KIDULTHOOD. I would say
that she is a fifteen-year-old out of control but not in her
eyes. She thinks she has the world in her hands and is in
control of everything. She thinks she’s a big girl and special
because she’s getting drugs and gets money thrown at her
from older men. She doesn’t know how to respect her body.
A lot of girls nowadays hit fifteen and think they’re grown
up. They abuse their bodies, their innocence and minds.
I just had to get into that frame of mind of not giving a shit.
Growing up in north London, I’ve seen girls like Becky. She’s based on a real character. They think they’re
women because of the way they talk. They’re so cocky. Kids are older at fifteen. I see young girls on the bus
today and I’m intimidated”.
ALISA: “Whose this guy?”
BECKY: “Rupert. I met him at a rave, he’s rich and he gives me weed and shit, for free”
“Her whole attitude is, ‘If I can’t get a dress or drugs with money then I’ve got a body to use!’ She is
prostituting herself in the tackiest way possible because she’s not even doing it as a living. It’s a lot to do
with role models. You don’t see any of her family in the film and she never talks about anything like that.
There obviously isn’t a strong role model in her life at all. She’s crying out for help because she’s not getting
attention at school and she’s not intelligent enough in other ways. She just wants people to look and talk to
her. Becky has no self-awareness. She has nothing to hide and says what she means. She is always lying
and backstabbing. But she pushes it too far. She wakes up and sees that she’s alone and out of her league.”
ALISA: “Do you ever think of anything but yourself?”
BECKY: “Uh! Yes. Clothes, shoes, money, sex. Wait sex involves me though doesn’t it…?”
NOEL CLARKE ON SAM
“The character I play, Sam, is almost your typical villain.
He starts off mean and he ends up mean. There is a point
where he weakens slightly with his girlfriend Claire but it’s
just for a second. It’s a tough journey for him because he’s
all about male pride. He makes his choices, you know. Sam
is one of those people who’s a bully because it happened
to him. Pretty early on he probably had to make a stand,
but instead of becoming just someone who went quietly
about his business, he went the other way. It’s a case of,
‘if you can’t beat them, join them!’ There’s a specific guy
that he is based on. He tried to bully my friend - who the Moony character is based on – and me at school,
but we weren’t having it.
He’s thick as shit. The oldest Sixth former there and now he’s the overlord of the school. He knows he
couldn’t go to college and do this kind of stuff. He knows he couldn’t behave like this in the workplace. But at
school he has a power that he will never have again. He relishes that! Sam is nobody outside of school. When
he sees the younger boys starting to look for a bit of power he has to constantly knock them down. The worst
thing that could ever happen to Sam is for him to get dethroned at school. For someone to show that at the
end of the day he is just another guy. It would be over for him. That’s the only power he has.”
SAM: “Yeah blood, Trife and his two little friends. Yeah I’m cool…Nah, Nah I don’t need you lot to
reach, I’m gonna fuck them up myself, trust. Blood guarantee you… If you see them bell me on me
mob’s. One.”
MADELEINE FAIRLEY ON CLAIRE
“I play Claire in the film. She’s quite insecure because
to better herself she goes with Sam who is an older pupil
and a tough guy. She thinks that will make her look cool
but in reality she would like to be with someone younger
and that’s why she goes off with Jay. It’s all a bit of a game
for her. I always felt that she was a bit of a sad character.
She feels her only way to fit in is to sleep around with
these blokes. She’s quite a lonely person. She is never
with any other girl. She’s always with a bloke. Claire is
quite open about being a slag. That way she is excluded
from the other girls, I think there is a girl like her in almost every school.
She comes from quite a middle class family. Her mum is quite posh and liberal thinking. It’s funny but it’s
dark humour, because her mum doesn’t know what she’s getting up to. Claire begins to realise that Sam isn’t
good for her anymore. But when he beats her up she still stays with him. She is trapped in a vicious circle.
She isn’t really going anywhere. I used to see girls like Claire at school. They thought they were really cool
because they had older boyfriends, but then they were always the ones that ended up pregnant at fifteen!”
JAY: “If he’s an arsehole, why you with him?”
CLAIRE: “I don’t know. He’s older. More mature. It’s cool”
KATELIN OKORO ON CARLEEN
“I play the nasty bully character Carleen. I have been around bullies but never really bullied myself. At my
school though there were girls like my character and people were frightened of them. But they’re nothing!
At the end of the film she weakens. She’s not as strong as she came out appearing to be. Alisa stands up to
her and she backs down. That’s all it takes with bullies because it’s all front. Alisa makes Carleen feel like a
little kid. If children see that, it might give them the drive to stand up for themselves. Hopefully it will educate
the youth and give parents a view of what actually happens in school. I don’t think they know. Even some of
the students haven’t got a clue!”
ALISA: “She killed herself because you and your friends bullied her until she couldn’t take it no
more…You killed her”.
CARLEEN: “Shut up you sket!”
ALISA: “You killed her.”
CARLEEN: “If you don’t shut up you’re gonna join her!”
The KIDULTHOOD soundtrack will be released by Bullet Proof Records prior to release of the film.
For further information, soundtrack, stills and interview bids, please contact Rhi Patel or Hannah
Wilkinson at Revolver Entertainment.
Email: [email protected] or [email protected]
Telephone: 0207 243 4300
CAST AND CREW CREDiTS:
REVOLVER ENTERTAINMENT PRESENTS
A STEALTH FILMS/CIPHER FILMS PRODUCTION IN ASSOCIATION WITH TMC FILMS - “KIDULTHOOD”
CAST
PRODUCTION DETAILS
ALISA: RED MADRELL
YEAR OF PRODUCTION: 2005
BECKY: JAIME WINSTONE
RUNNING TIME: 90 MINS APPROX
CLAIRE: MADELEINE FAIRLEY
COUNTRY OF ORIGIN: UK
JAY: ADAM DEACON
LENNY: RAFE SPALL
MOONY: FEMI OYENIRAN
SAM: NOEL CLARKE
STELLA: KATE MAGOWAN
TRIFE: AML AMEEN
UNCLE CURTIS: CORNELL JOHN
CREW
CASTING DIRECTOR: AMANDA TABAK CDG
CO PRODUCERS: ALEXANDRA STONE, RAY PANTHAKI, DOUGLAS LOCHHEAD and RICHARD LEVER
COSTUME DESIGNER: ANDY BLAKE
DIRECTOR AND PRODUCER: MENHAJ HUDA
DIRECTOR OF PHOTOGRAPHY: BRIAN TUFANO
EDITOR: VICTORIA BOYDELL BSC
EXECUTIVE PRODUCERS: PIERRE MASCOLO, MARCO COSTA, TANIA COSTA and MARCELLO
MOSCARELLO
LINE PRODUCER: TIM COLE
MUSIC COMPOSER: THE ANGEL
MUSIC SUPERVISORS: JAMES HYMAN and IAN NEIL
PRODUCER: DAMIAN JONES
PRODUCER: GEORGE ISAAC
PRODUCTION DESIGNER: MURRAY McKEOWN and NICK TUFT
SCRIPTWRITER: NOEL CLARKE
REAL KiDULTHOOD:
“The film shouldn’t shock people because it’s in the newspapers every day! It’s constant. It doesn’t
show anything that isn’t happening.” - Noel Clarke, Actor / Screenwriter
Metro, 6th December 2005
Independent, 9th January 2006
Sunday Times, 11th December 2005
The Times, 24th November 2005
http://www.thesun.co.uk/article/0,,5-2005530599,00.html
http://society.guardian.co.uk/youthjustice/story/0,11982,775582,00.html
http://www.dailymail.co.uk/pages/live/articles/news/news.html?in_article_id=368535&in_page_id=1770
http://www.telegraph.co.uk/news/main.jhtml?xml=/news/2005/10/21/ngang21.xml&sSheet=/news/2005/10/21/ixhome.html
http://www.timesonline.co.uk/article/0,,2-1012042,00.html
http://www.dailymail.co.uk/pages/live/articles/news/news.html?in_article_id=105334&in_page_id=1770

for pdf press pack click here

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