Kidulthood press pack

It’s just another day at school for West London teenagers Trife (AML AMEEN) Jay (ADAM DEACON) andMoony (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 tragicsuicide of bullied pupil Katie, the teenagers are all forced to face their own responsibilities and blame for thesituations 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) tocontend with. Sam is out for revenge after Jay steals his girlfriend Claire (MADELINE FAIRLEY) who he hasbeen 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 ofdead 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 Grimesoundtrack, 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…”

WWW.KIDULTHOOD.CO.UK WWW.REVOLVERGROUP.COM

COPYRIGHT REVOLVER ENTERTAINMENT 2006

KiDULTHOOD SYNOPSiS:

Actor/Screenwriter: Noel ClarkeAge: 30Winner 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 IsaacAge: 29George’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 andnumerous other festivals. It just took one script read-through for George to know that hewanted to be involved in KIDULTHOOD and he is now working on Noel Clarke’s secondscript 4321, which he intends to shoot in summer/autumn 2006 in London and New York.

Director: Menhaj Huda (‘Huds’)Age: 38Former Music Video and Commercials Director Menhaj Huda directed and co-producedKIDULTHOOD. 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 tothe real-life experiences and characters that Noel used to write the film - using specificartists and music within the film was a very important and integral part of this directingprocess.

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 somethingabout 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 bullyingin 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 tobe, my main aim for the film was for it to be as true to life as possible.



Q&A iNTERViEW:

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 thesame street culture. I had been looking to do a similar feature length project ever since. When I read theKIDULTHOOD 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 itexists 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 withinthe 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 forsome kids nowadays. Because anything that kids get up to, they do when their parents are out. All parentsthink, ‘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 goingto 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 intelling Noel’s story. I didn’t want to take it away from him. We started looking for money back in 2003. We put itout 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 inLeeds with the Director of Photography Brian Tufano. I started up my production company Cipher Films at thebeginning of 2003 and got back in touch with Huds about the project, which I had been enquiring about relent-lessly 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 fourweeks on 35mm.

GEORGE: We also knew a key element was having Brian Tufano’s lighting. The magnitude of what he cancreate 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 thatKIDULTHOOD is all about, so they could see how supporting the film through clothes sponsorship would bemutually 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 amodern day Quodrophenia, and truly reflects what the kids are up to today. KIDULTHOOD is a hard-hitting 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 knowexactly what Noel was talking about and where the script was coming from, and our need to shoot aroundWest 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 thethemes within the film in one way or another, although it might not be through the specific situation shown inthe film. I have seen enough things come from South and East London so I thought it was time that WestLondon was represented in it’s own way. That’s why I was adamant that it was shot around there. When youdo 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 actuallybumped 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 ofpounds worth of camera equipment which the new kids on the block were quite gob-smacked by, it evenmeant 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-existtogether and that doesn’t really happen in other places. Also, if you shoot in East London for example, it’s avery 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 thesubject matter in one way or another. Right from the beginning we really went out to find the real ‘street’ kidswho 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 Counciland Film Four. They asked us to do a read through - and we ended up casting the film for that. We met aboutfour hundred kids in open castings and sifted them through improvisation workshops. You could just see thatthey 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 webrought 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 someonewho was going to match with her. We found our lead female Alisa (RED MADRELL) in the second round ofauditions. 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 Icould 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 giveyou the opportunity to play them you have to create it for yourself.



Did the fact that the characters are based on real peopleaffect casting decisions?

NOEL: A lot. It was important for me to get a trio of boys just likethe friends I hung out with. I wanted the actors to actually fit thereal-life characters in terms of personalities as well. The humour is very important. It’s not necessarily written to be funny but that’sthe best humour. When you’re out with your friends there’s in-jokes that crack you up and nobody else knows what’s goingon. 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 ProofRecords 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 fromLADY SOVREIGN, KANO, WILEY, MITCHELL BROTHERS,SWAY, BLACK TWANG and PLAN B. For details of confirmedartists, 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 filmby not using any US artists. When we were making the film we basically didn’t have a music budget but I toldHuds, ‘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 TheStreets 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’stelephone number and getting them down to watch the film. It was as simple as that! They’re trying to dosomething innovative in their own field and when they saw the film they understood that it’s something thatworks for them too. The film and their music have the same audience. The opportunities for their music to goon 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 honourworking with Ian Neil who was one of the music supervisors on the film, especially as he has did such anamazing 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’. AdamDeacon, 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.



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 thebeginning 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’tneed 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 oftenturn into the bullies themselves so that they can hide from their own insecurities. Trife is very much driven byhis heart in whatever direction. I read the script, fell in love with it and wanted it. Trife and I have the sameheart 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 afteryou, 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 jokerin the pack, making light of situations. He’s very hype, veryrowdy 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 groupanyway even though he isn’t really, so as soon as it allkicks off he’s ready to be the main boy. He’s always tryingto 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 jeal-ous of that. Both Jay and Moony know Trife’s the bigger boy but that’s why they can’t really show that. They’vegot 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 whenI 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 kidslike him who won’t listen to anybody. To him, he’s the big boy out there and nobody can say anything aboutthat. I got Jay from just looking at people from my area - East London, Hackney. He doesn’t have the mentalityto go back to college so whatever options he takes it’s going to be something gritty on the street.



DRAMATiS PERSONAE:

Definitely nothing legit, maybe drug dealing or something. Probably sitting at home signing on! I don’t think Jayis 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 littlehesitant. 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 fitwithin 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 gangstersbut they go along with their friends who do. Nobody’s going to admit to being a coward like Moony but thereare millions of them and only a few leaders, he is actually based on a real character. His friends on the otherhand 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 hismates, and we’re just picking it up. Simple. Or we just ding the bell, and get in the main door, and thenboot 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’llhandle 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 thefilm along with Trife. You get to see how her life plays outwithin the space of two days. Alisa has just found out she’spregnant. 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 herboyfriend. Alisa has to go through everything with Becky not really there for her and it makes her realize thatshe 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 alwaysknow what she wants but by the end of the film she is at least trying to make what she thinks are the rightchoices. And she does it on her own. She isn’t all talk because she does confront the bullies. Those are thefirst steps that show she is going to make a difference. She’s actually going to follow through with what shehas 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 onand 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 saythat she is a fifteen-year-old out of control but not in hereyes. She thinks she has the world in her hands and is incontrol of everything. She thinks she’s a big girl and specialbecause she’s getting drugs and gets money thrown at herfrom older men. She doesn’t know how to respect her body.A lot of girls nowadays hit fifteen and think they’re grownup. 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’rewomen because of the way they talk. They’re so cocky. Kids are older at fifteen. I see young girls on the bustoday 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 gettingattention at school and she’s not intelligent enough in other ways. She just wants people to look and talk toher. 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 pointwhere he weakens slightly with his girlfriend Claire but it’sjust for a second. It’s a tough journey for him because he’sall about male pride. He makes his choices, you know. Samis 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 quietlyabout 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 atschool he has a power that he will never have again. He relishes that! Sam is nobody outside of school. Whenhe sees the younger boys starting to look for a bit of power he has to constantly knock them down. The worstthing that could ever happen to Sam is for him to get dethroned at school. For someone to show that at theend 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 toreach, I’m gonna fuck them up myself, trust. Blood guarantee you… If you see them bell me on memob’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 pupiland a tough guy. She thinks that will make her look cool but in reality she would like to be with someone youngerand that’s why she goes off with Jay. It’s all a bit of a gamefor 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’tgood 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 coolbecause 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 myschool 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 toher and she backs down. That’s all it takes with bullies because it’s all front. Alisa makes Carleen feel like alittle 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 ofthe students haven’t got a clue!”

ALISA: “She killed herself because you and your friends bullied her until she couldn’t take it nomore…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 HannahWilkinson at Revolver Entertainment.

Email: [email protected] or [email protected]

Telephone: 0207 243 4300



REVOLVER ENTERTAINMENT PRESENTSA STEALTH FILMS/CIPHER FILMS PRODUCTION IN ASSOCIATION WITH TMC FILMS - “KIDULTHOOD”

CAST

ALISA: RED MADRELL

BECKY: JAIME WINSTONE

CLAIRE: MADELEINE FAIRLEY

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 MARCELLOMOSCARELLO

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



CAST AND CREW CREDiTS:

PRODUCTION DETAILS

YEAR OF PRODUCTION: 2005

RUNNING TIME: 90 MINS APPROX

COUNTRY OF ORIGIN: UK

“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



REAL KiDULTHOOD:

Metro, 6th December 2005

Independent, 9th January 2006



The Times, 24th November 2005

Sunday Times, 11th December 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

Kidulthood press pack

Education