ALMOST ADULT.doc by zhaonedx

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									          ALMOST ADULT
            PRESS KIT


 BEYOND FILMS, CHANNEL 4 AND SCREEN WEST MIDLANDS IN
      ASSOCAITION WITH Hi8us AND ELEKTROFILM A PARALLAX
 PRODUCTION IN CO-PRODUCTION WITH EURO ARTS GMB PRODUCTION
 DESIGNER JOHN ELLIS COSTUME DESIGNER JANICE RIDER SOUND IAN
RICHARDSON DIRECTOR OF PHOTOGRAPHY DAVID KATZNELSON EDITOR
KRISTINA HETHERINGTON MUSIC NICK BICÂT ASSOCIATE PRODUCER
MICHAEL REUTER SCREENPLAY RONA MUNRO EXECUTIVE PRODUCERS
LEE THOMAS, BERND HELLTHALLER, ANDY PORTER PRODUCER
          SALLY HIBBIN DIRECTOR YOUSAF ALI KHAN




Parallax East
Victoria Chambers
12 St Runwald St
Colchester
CO1 1HF
CONTENTS
SYNOPSIS .......................................................................................................................... 3
DIRECTOR......................................................................................................................... 4
YOUSAF ALI KHAN ........................................................................................................ 4
WRITERS STATEMENT .................................................................................................. 7
RONA MUNRO ................................................................................................................. 7
VICTOIRE MILANDU .................................................................................................... 10
MAMIE ............................................................................................................................. 10
ANN WARUNGU ............................................................................................................ 12
SHIKU .............................................................................................................................. 12
PRODUCER ..................................................................................................................... 13
SALLY HIBBIN ............................................................................................................... 13
DAVID KATZNELSON .................................................................................................. 15
DIRECTOR OF PHOTOGRAPHY .................................................................................. 15
HIGH DEFINITION VIDEO (HDV) ............................................................................... 18
ALMOST ADULT TRAINING PROGRAMME ............................................................ 19
ALMOST ADULT............................................................................................................ 22
CAST ................................................................................................................................ 22
ALMOST ADULT............................................................................................................ 23
CREW ............................................................................................................................... 23
KRISTINA HETHERINGTON ........................................................................................ 25
EDITOR ............................................................................................................................ 25
PARALLAX EAST .......................................................................................................... 27
COMPANY PROFILE ..................................................................................................... 27




                                                                   2
                                       SYNOPSIS

        Seventeen year old Mamie has fled from the Democratic Republic of The Congo
in the hope of finding a safer life. She has lost her sister and doesn’t know what has
become of her or their parents. Mamie is without a passport, and is therefore questioned
by immigration before being sent to a new home in Birmingham.

But when she arrives in Birmingham Mamie loses her papers. Mamie despairs but
encounters Shiku, 13, another African girl who appears to be in the same boat. Mamie
and Shiku do not share the same language, yet they form a bond. Mamie promises to
take care of Shiku. Mamie is happy – Shiku will be her new sister!

Together the two girls explore the sights of Birmingham. Mamie tries a flower in her
hair from a market stall. Mamie feels both sad and happy because the flower makes her
remember her own sister. That night they sleep rough but the next day Mamie is filled
with new hope when she discovers that Shiku has papers! The two girls spend the night
in a police cell, as sisters, while the authorities look for suitable housing. Mamie
promises Shiku that she will look after her until she discovers that Shiku has stolen the
flower from the stall. Mamie feels so betrayed that she tells the authority that she and
Shiku are not sisters. Subsequently the girls are separated, with Shiku going into a foster
home, and Mamie a squalid hostel.

Mamie and Shiku now face their separate ordeals. After getting a deportation notice
Mamie disappears to join many other illegal immigrants who are forced underground and
then exploited. And Shiku is unhappy in her foster home and fails to make friends in
school.

She is on a bus when Mamie spots Shiku in the street and the two girls are reunited. By
now Mamie has had to break a few rules herself and regrets being so harsh about
rejecting Shiku over the flower. The two meet in secret because Shiku’s family forbid
her from having friends. Mamie tells Shiku that she must stick up to her foster parents
and Shiku finally flips out, wrecks her foster parents’ house and locks herself in the
bathroom where she completely breaks down.

Shiku’s foster parents, the police, and social services listen as Mamie stands outside the
locked bathroom door and tells her story. Shiku also listens. We all learn Mamie’s story.
And we learn that Mamie’s story, is Shiku’s story too. When Mamie has finished, Shiku
opens the door and falls into Mamie’s arms.

                                         *
Mamie finally gets Leave to Remain. Shiku gets a birthday party. The two sisters have a
new life in the UK.




                                             3
                                     DIRECTOR
                                  YOUSAF ALI KHAN


       Yousaf Ali Khan has earned an international reputation as a director to watch for.
He has two award winning shorts, Skin Deep, tells the story of a young white-looking
Pakistani who hangs with the BNP, while Talking With Angels focuses on how a group of
young kids protect their lithium-addicted mother. Almost Adult is his first feature.

      “This is a subjective film about what it means to be frightened in an alien world.
I want the audience to see our society through an outsider’s eyes. And I want them to
emotionally connect with the situation of being an outsider, specifically to know what it
is like for unaccompanied child asylum seekers entering the UK.

How these children deal with this challenge is absorbing. Here are two girls who have
been torn from their families, they’ve been raped, they have culture shock. They have to
cope with so much. These experiences will stay with them for the rest of their lives.
There is an enormous dignity in the struggle to survive. Mamie holds her head up. She
refuses to be a victim. I want everyone to know what it feels like to be Mamie.

A film like this cannot obliterate prejudice. What it can do is contribute to a change in
policy when handling unaccompanied minors. I also hope it will counter some of the
negative press. The word asylum seeker has become synonymous with someone coming
here seeking a free meal ticket. But people do not make journeys across the world
lightly. When someone has made such a courageous journey they shouldn’t have to face
such obstacles as they do. In my book any child that arrives in the UK is a child of the
UK.

Mamie is not just going on a journey from ‘no status’ to ‘right to remain,’ she is going on
an internal emotional journey. Moving away from traditional realism, I aim to bring a
subjective viewpoint which will allow the characters’ inner journeys to get onto the
screen. This is why I am knocked out to have David on board. Having developed a very
subjective style of filmmaking together, we will now be able to build on that and enable
the audience to experience life as Mamie; that is very exciting! For me it’s really great to
work with a Director of Photography who not only has strong visual grammar but also
has a passion for the subject matter. Part of the reason we get on so well is because the
films we have worked on have been about things that matter.

The parts of Mamie and Shiku will be cast from non-actors from within the refugee
communities. The intention is to achieve raw, honest performances that draw from their
own personal knowledge. In order to breathe emotional truth into the parts it is important
our cast are able to make those connections between their own experiences and those of
the characters.’ To facilitate this, I will integrate improvisational workshops into the
auditioning process. I have found that the time and space and the build up to the film




                                             4
greatly benefit untrained actors to convey and embody the emotional truths of their
characters.

When you’ve not got the language, when you’re not from this country, you have to rely
on instinct. In order to survive, Mamie has to make decisions based on gut feelings. Her
visceral connection with this strange new environment allows us to experience Mamie’s
reception in the UK as she does, which is as depressing as the overcast Birmingham
winter sky. Mamie arrives from Africa at the on-set of Christmas, which we see in all of
its tacky candy-coated over-indulgence; everything looks and feels different. And an
important element of this film is for the audience to experience Mamie’s tactile curiosity;
what does it feel like to arrive from a hot country to a cold country? What does it feel
like to look up into the sky and not see the sun? What does it feel like to have a cold door
slammed in your face? We don’t just see what Mamie sees, we feel her despair, her
bewilderment, the grey dank winter. We smell the cold; we taste the concrete, the glass
and dirty rain. By the end of this film, however, spring has arrived and Mamie feels new
hope. Through courage and determination she has found a way to move forwards. As
the film closes, Mamie and Shiku walk down the road; the once intimidating city that lies
before them is now home.”




                                             5
                                  DIRECTOR
                               YOUSAF ALI KHAN


SHORTS

TALKING WITH ANGELS (2004)
Nominated by Fox Searchlight for 2004 Academy Awards
Selected for Sundance Festival 2004
Nominated for BAFTA 2004
Aspen Film Festival Special Recognition

SKIN DEEP (2002)
Winner of 7th BAFTA/Kodak Short Film Showcase
Nominated: BAFTA – Best Short Film 2002
Winner of Best Short Film at Geneva International Film Festival
Winner of TCM Classic Shorts 3rd Prize
Nominated: Calton Multicultural Achievement Awards 2002 – Film Category
Winner of Le Prix Du Jury Juene at Brest International Film Festival
Winner of Best Short Film at Buffalo Black and Asian Film Festival

DOGTRIBE
Northern Arts
ANGELS OF MERCY
Channel 4
IN DEVELOPMENT
SOME ENCHANTED EVENING
Feature
ONE DAY IN NOVEMBER
Made up North, Kiwa Films Ltd, Fu Fairy Films Ltd
Feature
THE PRODIGAL SON
Feature
IN PRODUCTION
THE BATTLE OF CALREMONT ROAD
Documentary




                                         6
                               WRITERS STATEMENT
                                  RONA MUNRO


    “The script for almost adult was developed after a series of meetings and workshops
with unaccompanied refugee kids, teachers, workers and others who care for them.
We then held a series of auditions in London and Birmingham to find the two girls to
play Shiku and Mamie.

We were quite literally spoiled for choice, we saw so many amazing young women some
here with family, others, like our characters, making their way in the UK on their own.
They all contributed so much to our final film just in what they offered on our workshop
days and we could have built an amazing story out of any one of them.

I first met Victoire at an open audition in Birmingham. She seemed painfully shy and
nervous, very quiet; her hand when I shook it was freezing cold and shaking with nerves.
Her English was shaky, (she’s fluent in French and Lingala) but by the next audition I
saw a young woman who could improvise a whole range of emotion. She was accessing
very real pain and vulnerability but offering it up with no fear in a way many trained
actors would struggle to achieve.

By the end of the shoot I was working with a charismatic, confident young
woman with a huge laugh, dealing with split new experiences every day with an aplomb
that took my breath away. And her English improved at what seemed to be a supersonic
rate. My French stayed as halting as it always was and I didn’t pick up much Lingala.

All the young people I met were dealing with histories and lives most British teenagers
could only imagine. Yet they were acquiring academic qualifications at a rate of knots
and most of them were really excited and motivated to find out what they could achieve
in their new home.

Like Victoire they have so much to offer.

I think she and Ann are both stars.”




                                            7
                                          RONA MUNRO
                                            WRITER


FILMS

VATER (2001)
Feature produced by Senator Film Produktion
WANTED (2000)
Feature written for Oxford Film Company about the life of Ulrike Meinhoff .
UNTITLED PRISON PROJECT
Feature written for Roth/Linder Productions
SKIN AND INK (1999)
Feature in development with Zephyr Films. Rob Rohrer attached to direct.
AIMEE AND JAGUAR                    (1995)
Feature script written for Senator Film
LADY BIRD LADY BIRD (1992)
Feature Screenplay for Parallax Pictures, directed by Ken Loach.

TELEVISION

DROP IN           (2004)
Series in development with Antonia Bird
TIME STORM                 (2003)
WW Entertainment. Drama in development
REHAB (2002)
Feature length drama for BBC. Directed by Antonia Bird.
CALL CENTRES (1999)
Single drama in development with BBC
BUMPING THE ODDS (1997)
Feature for BBC Scotland. Directed by Rob Rohrer and starring Shirley Henderson and Joseph McFadden .
MARY BARTON (1996)
Adaptation of Elizabeth Gaskell novel for the BBC
MEN OF THE MONTH (1994)
BBC film directed by Jean Stewart, starring Douglas Hodge
CASUALTY Episode entitled “Say It With Flowers” (1990)
DR WHO (1989)
3 episodes
HARDWARE (1984)
A half hour play for Scottish TV, repeated on Channel 4 in 1984



RADIO

CITIZENS (1988)
Several episodes of drama series for BBC Radio 4
THE DIRT UNDER THE CARPET (1988)
BBC ‘Afternoon Theatre” winner of             the Giles Cooper Award, 1988
WATCHING WAITERS (1986)


                                                     8
An ‘Afternoon Theatre’ for the BBC, winner of the Pharic McClaren Award for Most Promising New Play
KILBRECK (1983)
Several episodes of drama series for Radio Scotland




Rona is also an acclaimed playwright whose works include: IRON, THE HOUSE OF
BERNARDA ALBA, SNAKE, SKY HIGH BLUE, THE MAIDENSTONE, IRON
and the award winning BOLD GIRLS




                                                      9
                                  VICTOIRE MILANDU
                                       MAMIE


     Victoire Milandu was cast from a number of young female African refugees who
attended a workshop for Almost Adult in Birmingham. This is her first film.

       “Hello everybody my name is Victoire and I am sixteen. First of all please
forgive my English, it’s not very good! I go every day to college to learn good English!

I like the script. First of all I think it is a sad story, a really sad story and some of the
people do live like that! I like Mamie. I like her rules and the way she acts. She is
strong. She is very strong! Sometimes Shiku was naughty, sometimes she was good.
When Shiku was naughty I was sad for her. She shouldn’t do that. Mamie and Shiku
should be together, the two of them. They have to listen to each other. Mamie was sad
and at the end of the film she was stronger and she was happy and she was going to be
okay because she already passed those bad periods and afterwards she was happy.

It’s a good thing this film. I really enjoyed it. Afterwards I miss everybody. I like to
work hard really for myself. Mamie she was like that - she works hard. Me and my
sister are very close and Mamie had a sister and her sister left her. That was very sad. If
I was the one who had lost a sister that was going to be hard. By her own she was
walking, doing everything to be safe. Life is tough.

I live in Birmingham and I have been living in Birmingham for two years and a few
months. Before that I lived in my country in Congo. My mum and dad live in Congo
and I don’t see them now. Here I live with my sister and my brother who is nine. My
sister couldn’t support us and they found us a foster mum. She is from China. She is
nice. I go to the Refugee place BUMP* and it is here where they came to ask if people
could act.

My brother he never realised what I was doing and then one day I came and he goes “Oh
Victoire you’re going to be famous.”
I say “yes” and then my sister she is always saying
“That’s rubbish!”

It’s good to act. On Mondays I go to acting classes. I just started last week. Before I
did not want to be an actress because I was saying it was too disgusting because they are
always kissing people and I don’t like that!

I have not got a boyfriend but after this film I will get one! A pop star! I think I won’t
go to watch this film with my friends because they will laugh at me. They say you
should be a comedy actress but I don’t like to act as a comedian. I like to be serious
acting, really acting fighting, fighting, not joking. Fighting with people!




                                              10
I have so many plans. I want to get a little bit of money to save all those poor children in
any countries! I want to be that kind of person. Like those people like in the Red Cross
the money and they will give to the children. Those things they do for the children.”

*BUMP stands for the Befriending Unaccompanied Minors Project.
              0121 555 8888 Email - h.newth@savethechildren.org.uk




                                             11
                                    ANN WARUNGU
                                        SHIKU




        “I’m 13 and I’ve been an actress only a few years and this was fun to do because
I’ve never done a film before! It was a good experience. I got the script and I understood
the story. I got what the main point was and I think people will understand it on screen
because it’s a good script.

I could see where Shiku was coming from. I found I could easily switch into her shoes.
I came up with the name! It's part of my middle name and I think that made it easier for
me to really get into the role of Shiku. She's a quiet but interesting character. I like the
girls’ relationship. It was good because they were really good friends but they had their
fights so it made it more realistic. Their lives moulded into each other. They were kind
of similar yet different. It was fun working with Victoire.

The story is realistic because it actually could happen. It was good for me to see what
goes on because I never actually knew. I was born in Kenya but I grew up here.
The script changed my view of asylum seekers. Like a lot of people I thought they were
a nuisance, that they came here to steal jobs and houses. But now I see why they need
to do what they have to do. They are more worse off than you actually think they are.

Yousaf is a good director. He gave me advice and helped me get through stuff. He'd
motivate me and help me get into the role. He didn't shout at me!”




                                             12
                                            PRODUCER
                                           SALLY HIBBIN


AS PRODUCER

YASMIN (2004)
Director Kenny Glenaan
BLIND FLIGHT (2003)
Director, John Furse
DOCKERS (1999)
Director, Bill Anderson, Production, Channel 4
HOLD BACK THE NIGHT (1998)
Director, Philip Davis, Production, Parallax Pictures/The Film Consortium/Film Four/Arts Council of
England/WAVEpictures/ BIM Distribuzione
STAND AND DELIVER (1997)
Director, Les Blair, Production, Parallax Pictures for BBC Scotland
CARLA'S SONG (1996)
Gold Medal at the Venice Film Festival
Director, Ken Loach, Production, Parallax Pictures/Road Movies/ Tornasol Films for Channel 4, NRW,
TVE and Polygram
i.d. (1995)
Youth Award at the Venice Film Festival
Director, Philip Davis, Production, Parallax Pictures/Metropolis Film Production for BBC, The Sales
Company, Hamburg Film Fund and Polygram
LADYBIRD, LADYBIRD (1994)
Silver Bear Best Actress Berlin
Director, Ken Loach, Production,   Parallax Pictures for Channel 4
RAINING STONES (1993)
Cannes Jury Prize/ Evening Standard Best Film Award
Director, Ken Loach, Production, Parallax Pictures for Channel 4
RIFF-RAFF (1991)
European Film of the Year/Cannes Critics’ Award
Director, Ken Loach, Production: Parallax Pictures for Channel 4
A VERY BRITISH COUP (1988)
BAFTA Best Drama serial/International Emmy
Director, Mick Jackson, Production,    Skreba Films for Channel 4

AS EXECUTIVE PRODUCER

THE INTENDED (2001)
Director, Kristian Levring, Producers,       Patricia Kruijer and Malene Blenkov
Production,        Parallax Independent/ Produktionsselskabet In association with Projekt Inc.

LIAM (1998)
Director, Stephen Frears, Producers, Colin McKeown and Martin Tempia, Production, Liam Films for BBC
Films
SHARK HUNT (1996) (short)
Director: Dominic Lees, Producer: Corinne Cartier, Production: Parallax Pictures for Channel 4/ BBC




                                                    13
THE GOVERNESS (1996)
Director: Sandra Goldbacher, Producer: Sarah Curtis, Production: Parallax Pictures for Pandora/ Arts
Council of Great Britain/ British Screen
THE ENGLISHMAN WHO WENT UP A HILL BUT CAME
DOWN A MOUNTAIN (1993)
Director: Chris Monger, Producer: Sarah Curtis, Production: Parallax Pictures/Miramax
LAND AND FREEDOM (1993)
Cannes International Film Critics’ Prize European Film of the Year
Director: Ken Loach, Producer: Rebecca O'Brien, Production: Parallax Pictures/Messidor Films/Road
Movies for British Screen, Eurimage, NRW, BBC and TVE
BAD BEHAVIOUR (1993)
Evening Standard Award - Peter Sellers Best Comedy Award 1993
Director: Les Blair, Producer: Sarah Curtis, Production: Parallax Pictures for British Screen/Channel 4
TOMORROW CALLING (short) (1993)
Director: Tim Leandro, Producer: Polly Tapson, Production: Tapson Steel Films/British Screen/ Channel 4
LONDON SOUTH-WEST (short) (1992)
Director: Mike Barnes, Producer: Nicky Kentish-Barnes, Production: Lavender Hill Productions/Channel 4

DOCUMENTARIES

LIVE A LIFE (1982)
(for Channel 4)
THE ROAD TO GDANSK (1985)
(for Channel 4)
GREAT BRITAIN UNITED (1991)
(for Channel 4)

BOOKS

ED. PLOITICS, IDEOLOGY AND THE STATE (1978)
THE OFFICIAL HISTORY OF THE JAMES BOND FILMS (1987) & (1989)
THE OFFICIAL HISTORY OF THE CARRY ON FILMS (1988)
THE MAKING OF LICENSE TO KILL (1989)
THE MAKING OF BACK TO THE FUTURE III (1990)
PLUS POSTER BOOKS ON DISNEY AND JAMES DEAN




                                                    14
                                DAVID KATZNELSON
                            DIRECTOR OF PHOTOGRAPHY


         “I have worked with Yousaf on two Bafta nominated films before, so when he
was asked to direct Almost Adult he rang me and asked me if I’d be interested in the
project and I said yes. Then I got to read the script and thought it was a very interesting
story and I really wanted to be involved in the project.
We shot on a Sony set 1 camera, with a 35mm adapter called Movie Tune because we
wanted to shoot on HD in one form or another and we heard from Germany, from the co-
producers there that that was the sort of way to go – a new very exciting little device
which would basically give the camera the same sort of depth as you get with a 35mm, to
give it a more filmic look than the standard camera would do without the adapter. Which
it certainly did so it really achieved a more cinematic look. And it worked very well.
There are a few downsides to it which is that it makes it a tiny bit more difficult for the
focus puller to get it right at all times, but I think overall effect is very nice. I don’t think
the ordinary viewer would be able to see that it was basically shot on a very small
camera.

I think it’s a very different Birmingham you see on the screen, partly because of the
location choices Yousaf made, but also the HDV side to it is a more poetic Birmingham
we have got. It is a Birmingham shown from a very subjective view.

We work very much with the eye-line, looking straight into the lens, and from the reverse
angle to see it from the exact point from where the other main character would have been.

It’s not really a film convention where you’re allowed to look into the lens, so when you
break that convention you sort of buy it. It might feel a bit odd to begin with but
hopefully once you’re dragged into it then hopefully you’ll be more engaged and see the
world from that person’s point of view. Some people I think will find it a bit odd to begin
with but hopefully it will then reverse and be even stronger.

The actors are looking straight into their own image. It’s quite hard to keep the
concentration because you’re looking into this blank space with no eye contact,
pretending to be talking to someone else. I think that’s a bit off putting at times but I
suppose they get used to it!

This technique is very much Yousaf’s idea of how he sees the world. I think he doesn’t
feel he’s not involved enough if he’s not seeing it from exactly that place where that
person was stood and looking straight into the eyes of the person he’s talking to. I think
that’s something he really wanted to do with this film. Other people are scared of using
that technique; you don’t see it that often.”




                                               15
                             DIRECTOR OF PHOTOGRAPHY
                              DAVID KATZNELSON D.F.F.


FILMS

FOR BLACK PEOPLE
BBC Films
DRIVING LESSONS
Rubber Tree Plant, Content Film
THE QUEEN’S SISTER
Touchpaper, Channel Four
MR HARVEY LIGHTS A CANDLE
BBC
THE RETURN OF SHERLOCK HOLMES
Tiger Aspect
BELONGING
The Producers
SEX & LIES
Blast! Films
PLEASURELAND
Kudos, Channel 4
Nomination: RTS Award for Photography of Drama 2004
THIS LITTLE LIFE
BBC Films/Film Council Common Features
Winner: Dennis Potter Award Film Council
Selected for screening at Toronto Film Festival Common Features
SINGLE
Tiger Aspect
GIRLS IN LOVE
Granada
SILENT GRACE
Crimson

SHORT FILMS

TALKING WITH ANGELS
BAFTA nominated for Best Short Film
YOU CAN RUN
Home Run

EDDIE LOVES MARY
Barns Films
DOMESTIC
Panopticon
CHINESE PHILOSOPHY FOR BEGINNERS
Channel Four
GOOD BOY


                                                  16
Script Factory
SKIN DEEP
APT Films
BAFTA nominated for Best Short Film 2002
Third prize: Turner Classic Movies Competition
Winner: Kodak Short Film Showcase Award 2001 for Best Cinematography
LAMBETH MARSH
Tigerlily Films
MY FRIEND SOWETO
APT, British Screen
LOSING TOUCH
NFTS
Winner: Best Film LA Short Film Festival 2000
JUTLAND
No Sun Productions
BUBBLES
Quiet Strom/The Arts Council
SHADOW
NFTS
JUREK
Danish Film



DOCUMENTARIES

AN ARCTIC CRIME & PUNISHMENT
Channel Four
A ST PETERSBURG SYMPHONY
Channel Four
CUT STORY
NFTS
PETER’S MARATHON
DRI Danish TV



COMMERCIALS

SUMO SUSHI
Ogilvy
NOISY NEIGHBOURS
Winner: Kodak Student Commercial Competition 2000




                                                17
                         HIGH DEFINITION VIDEO (HDV)


         When we started discussing what format to shoot the film on we were torn
between HD and DV. HD would give us benefits in that it’s a higher quality resolution
and allows us to use a wide variety of lenses. The downside of HD is that it needs a lot of
light to shoot at night and we were on a very tight budget. Also the focus is critical
which meant that actors would have to hit marks, which isn’t always desirable when
you’re working with non-professional actors and young people. DV would be cheaper on
the lights, easier on the focus but more limited in the ways we can use it.

Euroarts, our German co producers, suggested a compromise, which is HDV. HDV is
effectively a DV format which allows you to have as high a resolution as HD and with
camera attachments it also allows a wider range of lenses to be used.

As far as we know we are the first film in England and Germany to shoot on HDV.




                                            18
                   ALMOST ADULT TRAINING PROGRAMME


        As with many of Parallax’s films, on Almost Adult we wanted to offer a training
scheme where young people could gain experience in their chosen area within
filmmaking. In particular we wanted to give an opportunity to those who otherwise
might not have the chance to work in film. For example people of different backgrounds,
different ethnic minorities, and different classes.

Together with Hi8us we devised a structured scheme providing eight places. Each trainee
assistant would be assigned to a specific department for the duration of the shoot. As
well as being hands-on and practical, the scheme would include a week-long induction
course where trainees would gain theory and one-to-one mentoring. The trainees would
also have the opportunity to make their own DVD to capture their experiences and to
chart their progress on video diaries.

Too often a trainee becomes a runner and doesn’t get as much out of the job as they ought
to. To avoid this on Almost Adult, we had the training mentor talking to the trainees
about what they wanted from the position, who then discussed with the Head of
Departments about how to get them that. As a result Paul Morris, who was our trainee
Assistant Director said “I’ve been really lucky because the 1st AD is a very experienced
guy, and the 3rd AD is also very experienced and they‘ve been quite happy to allow me a
lot more responsibility than other trainees might have in this situation.

To have eight trainees on a small crew is very unusual because it’s relying on the trainees
to be very much part of the crew. People get to know what the job’s are about and they
get really intensely involved and that for most people it’s been quite a strong learning
curve for them. As one trainee put it, “It exposes what you’re capable of and also shows
you where your weaknesses are. Now I am more aware of my weaknesses and now I can
go out there and try and correct them.”

Overall the scheme proved popular with the trainees and they particularly valued working
among experienced filmmakers. Susi, who trained in the production office said “the
amount of experienced people on this crew is just great. And they’re really supportive as
well.”

As well as having happy trainees, the scheme also got the crew’s approval! Director
Yousaf Ali Khan said “I think that all the trainees on this film have been excellent. I
think it’s really important to train the next generation of filmmakers. I think more films
should do that.”

Training scheme funded by Hi8us/Equal and SWM.




                                            19
                                   ALMOST ADULT
                                     TRAINEES


JOHN RICHARDS- CAMERA TRAINEE “I didn’t realise the dedication and hard
work you need to pull something like this off. The whole experience has given me more
confidence in my ability, in what I can do and what I can’t do. Now I am more aware of
my weaknesses and now I can go out there and try and correct them. All I need from
hereon is experience. So if anyone needs a camera assistant, I’m your man!”

LEE MC KARKIEL – ASSISTANT EDITOR “I expected to come in and breeze it
because in my mind I knew how to edit and when I came in it was a shock. I didn’t know
I had to organise things for Tina. So it was a bit of a culture shock. I haven’t done any
editing because I need to master the system. At first I was a bit sad and I hate it when I
make silly mistakes. I’m not brilliant now but I am much better. I want to be brilliant by
the time this is finished.”

MAT OWEN – SOUND TRAINEE “It’s been really difficult to break into the film
industry. I’ve been doing sound for about a year and I’ve only been able to get bits and
pieces of various work so this was a great opportunity.

I’m learning a lot. Not just about sound but the whole filmmaking process and how the
different departments interact with each other. Seeing the general way the day breaks up
as time runs out and pressure builds and everyone has less time to do their job properly
and trying to get things right.

Being on set you’re pat of the action. You feel like you’re doing more of a job. You’re
actually performing a task that is really necessary. I’ve learnt a lot about directing,
especially in terms of actors. I have learnt a lot through watching Yousaf and the other
AD’s and the stunt coordinator, who was very good at his job. But also talking to other
people on set. It’s very good thing to have people on set who have got 20 30 years of
experience and how they work and what they’ve seen as being the better way of doing
things. If things aren’t going well they’ve usually got an idea of why.”

NATALIE RICHIE – COSTUME TRAINEE “I feel like I’ve developed a lot of
skills in the costume department as the only assistant to the Head Costume Designer.”




                                            20
SUSI SHARMA: PRODUCTION ASSISTANT TRAINEE “I have learnt a great
deal. I’ve worked with brilliant people. Everyone’s been so cool. I totally thing that
Sally’s great. I can’t believe she’s done all this. And Yousaf’s great as well, he’s so funny
and he so knows what he wants. The amount of experienced people on this crew - it’s just
great. And they’re really supportive as well. I don’t feel as stressed about getting a job as
I did a few months ago. Because I feel like I’ve had some really valuable experience.
Yesterday I was on location camera assisting. I’m so glad I did this. It’s been a great
experience. I suppose it’s the long hours you have to get used to. You have to put
everything on hold. But I’m in a position I think where I can do that. Just see what the
future brings.”


PAUL MORRIS – TRAINEE AD “I really like the magic. I love how everything
works. I love seeing actors really hit things, when the directors pleased with everything
that’s going on, I like the way the cinematographer makes everything look. I love
working with people and I love the interactions between different departments, different
people and getting everyone to work together. I love the technical things, learning how
things work, watching the people. I don’t mind doing the bottom of the barrel jobs
because that’s how you learn and these people have so much experience I’m quite happy
to learn and make their lives easier.”




                                             21
                                                    ALMOST ADULT
                                                       CAST


MAMIE ................................................................................. VICTOIRE MILANDU
SHIKU ......................................................................................... ANN WARUNGU
LEATHER JACKET ......................................................................... AGRON BIBA
KERRY ................................................................................................. LISA HOGG
MR OSMAN ..................................................................................... DADO JEHAN
TOMOR ................................................................................... OVIDIU MATESAN
MALAEKA......................................................................................... ZITA SATTAR
JANET TURNER ..................................................................ANNETTE BADLAND
BILL TURNER ....................................................................................IAN BLOWER
MAMIE’S SISTER ................................................... MARIE CHRISTINE MPOKO
AFRICAN MAN .......................................................................... CARL COLEMAN
SOCIAL WORKER ................................................................ GEORGINA NORTH
SECURITY GUARD ........................................................... NATASHA GODFREY
SALESWOMAN .....................................................................................JENNY JAY
WPC1 .......................................................................................... LORNA LAIDLOW
INTERPRETER ....................................................................... ANTHONIO ZISSOU
SAM .............................................................................................. SIMON STARTIN
GIRL AT HOSTEL........................................................... CHRISTINA CATALINA
IMMIGRATION OFFICERS ............................................... DOMINIC COLEMAN
........................................................................................................... ROB STANLEY
....................................................................................................... TRACEY BRIGGS
......................................................................................................................... SHEND
SOLICITORS ...................................................................... PUSHPINDER CHANI
.................................................................................................... JONTY STEPHENS
DOCTOR ......................................................................................... BHARTI PATEL
NATALIE ..................................................................................... LAUREN CARNE
COLLEGE TEACHER .................................................................... MAJEET MANN
KAZIM ................................................................................ KHODADAD NAZARI
LAWYER’S RECEPTIONIST .................................................................... SUE KIM
TICKET SALES WOMAN ........................................................ LYNSEY GARVEY
MRS MACKENZIE............................................................. DELMOZENE MORRIS




                                                                  22
                                                  ALMOST ADULT
                                                     CREW


DIRECTOR.............................................................................. YOUSAF ALI KHAN
PRODUCER ..................................................................................... SALLY HIBBIN
WRITER ........................................................................................... RONA MUNRO
EXECUTIVE PRODUCERS.............................................................. LEE THOMAS
............................................................................................BERND HELLTHALLER
...........................................................................................................ANDY PORTER
CO-PRODUCER ....................................................................... MICHAEL REUTER
D.O.P.................................................................................... DAVID KATZNELSON
EDITOR ..................................................................... KRISTINA HETHERINGTON
MUSIC ................................................................................................... NICK BICÂT
PRODUCTION DESIGNER ................................................................. JOHN ELLIS
CASTING DIRECTOR .............................................................. JILL TREVELLICK
LINE PRODUCER ........................................................................ANDREW WOOD
PRODUCTION CO-ORDINATOR ....................................... OLIVER ALLGROVE
PRODUCTION SECRETARY ......................................................... SUSI SHARMA
PRODUCTION ACCOUNTANT ......................................... CHERRY FIDDAMAN
LOCATION MANAGER ............................................................ BRIAN BILGORRI
LOCATION ASSISTANT.................................................................TOM WALKER
ADDITIONAL LOCATIONS .................................................. JONATHON WICKS
...................................................................................................MICHAEL HARVEY
FIRST ASSISTANT DIRECTOR .....................................................ROY STEVENS
SECOND ASSISTANT DIRECTOR ........................................ CLAIRE METTYER
THIRD ASSISTANT DIRECTOR ......................................................... MARK RAY
TRAINEE ASSISTANT DIRECTOR ............................................... PAUL MORRIS
STUNTS CO-ORDINATOR ................................................................... ROY ALAN
SCRIPT SUPERVISOR.................................................................. AMANDA LEAN
CASTING DIRECTOR’S ASSISTANT ........................................ PERVAIZ KHAN
RESEARCHER............................................................................NICKIE BASHALL
RUNNERS .................................................................................. STEPHEN HARRIS
.................................................................................................. DANIELA BAGNOLI
............................................................................................................. JO WILLIAMS
FIRST CAMERA ASSISTANT .............................................. JOHN ELLIS EVANS
SECOND CAMERA ASSISTANT ......................................... SANDRA COULSON
CAMERA TRAINEE ................................................................... JOHN RICHARDS
STILLS PHOTOGRAPHER ........................................................ PAUL CHEDLOW
SOUND RECORDIST .............................................................. IAN RICHARDSON
BOOM OPERATOR ........................................................ DAMIAN RICHARDSON
SOUND TRAINEE .............................................................................. MATT OWEN
GAFFERS ............................................................................................... JON WHITE
................................................................................................. ROBERT FERNADES



                                                              23
ELECTRICIANS .....................................................................................TOM HYDE
..............................................................................................................TONY TYLER
.................................................................................................CHRISTOPHER BIRD
ART DIRECTOR....................................................................... CHRIS RICHMOND
PRODUCTION BUYER ...................................................................... TOM BEACH
STANDBY PROPS ............................................................................. ANDY HUNT
STANDBY CARPENTER ...................................................................... PAUL SISK
ART DEPT. TRAINEE ..................................................................... SIMON DAVIS
COSTUME DESIGNER .................................................................... JANICE RIDER
COSTUME TRAINEE ................................................................ NATALIE RICHIE
MAKE-UP DESIGNER ................................................... SHELLY CROSS-BEALE
MAKE-UP TRAINEES ........................................................... REBECCA WILCOX
...................................................................................................... CLAIRE HARMER
TRAINING CO-ORDINATOR ................................................. JOHN HUMPHRIES
CHAPERONES .......................................................................... TERESA MORENO
.............................................................................................................. JEAN AVERY
..................................................................................................... LYNDE DOUGLAS
................................................................................................ ALASTAIR MACKAY
BUSINESS AFFAIRS ...................................................................... KATE WILSON
BUSINESS AND LEGAL AFFAIRS (GERMANY) .... HEIKO BURKADSMAIER
SOUND DESIGNER .................................................................. NOEMI HAMPBEL
DIALOGUE EDITOR ....................................................... ADRAIN BAUMEISTER
RE-RECORDED AT ........................................................................ ELEKTROFILM
FOLEY ARTIST. ..................................................................... CARSTEN RICHTER
FOLEY EDITOR ..................................................................................... HEIKE AST
TRAINEE EDITOR ..................................................................... LEE MCKARKIEL
RE-RECORDING MIXER ................................................................. LARS GINZEL
ONLINE EDITOR ...............................................................PHILLIP GROSSMANN
COLOUR GRADER. ................................................................ STEPHEN CZIUPEK
FILM TRANSFER........................................................................................ CINEPIX




                                                              24
                                  KRISTINA HETHERINGTON
                                          EDITOR


FILM:

YASMIN - Winner of the Audience Award at Dinard, 2004
Director Kenny Glenaan. Producer: Sally Hibbin. Parallax.
BLIND FLIGHT
Director: Johnny Furse. Producer:Sally Hibbin.Parallax Independent. Feature
GAS ATTACK winner of "Best New British Feature" at Edinburgh Film Festival 2001
Director: Kenny Glenaan. Producer: Sam Kingsley for Hart Ryan
LIAM
Director: Stephen Frears. Producers: Colin McKeown and Martin Tempia for BBC Films

TELEVISION DRAMA :

MAGNIFICANT 7
Director: Kenny Glenaan. Producer: Deb Jones. BBC
MUCH ADO ABOUT NOTHING
Director Brian Percival and Producer Diederick Santer
DERAILED
A single drama for the BBC. Director: Kenny Glenaan. Producer: Liza Marshall
NORTH AND SOUTH
A new 4 part drama for Director: Brian Percival and Producer: Kate Bartlett.BBC
PLEASURELAND
Director: Brian Percival. Producer: Natasha Dak. Kudos
TIPPING THE VELVET
A 3 part period drama. Director: Geoff Sax. Producer: Georgina Lowe for Sally Head Productions/ BBC
RESCUE ME
A 6 part comedy drama for Tiger Aspect. Directors: Kate Dennis, Julian Holmes, Christine Langan
Producer: Christine Langan
LAST MUSKETEER (STV) 2000
Director: Bill Britten. Producer: Bill Boyce
SUMMER IN THE SUBURBS (BBC) 1999
Director: David Attwood. Producer: Hilary Salmon
DOCKERS (Parallax) 1999
Director: Bill Anderson. Producer: Sally Hibbin
STORM DAMAGE (BBC) 1998 RTS award winner for Best Drama 2001
Director: Simon Cellan Jones. Producer: Ian Madden
RESPECT (2C Productions) 1995
Director: Oz Hutchings. Producer: Oz Hutchings

SAFE HAVEN (Insight Films for Channel Four) 1994
Director: Adam Tysoe. Producer: Debbie Shuter
A GREAT DELIVERANCE (BBC) 2000
Director: Richard Laxton, Producer: Ruth Baumgarten




                                                   25
TRIAL AND RETRIBUTION 11 (La Plante Productions) 1998
Director: Aisling Walsh. Producer: Lynda La Plante

SUPPLY AND DEMAND (La Plante Productions) 1998
Director: Colin Bucksley. Producer: Lynda La Plante
KILLER NET (La Plante Productions) 1997
Director: Geoff Sax. Producer: Lynda La Plante
A WING AND A PRAYER (Pearson) 1997
Director: Richard Laxton. Producer: Jacinta Peel
VALENTINE (Bigger Picture Company) 1996
Director: Rob Green



Kristina started as an Assistant Editor at the BBC in 1985 and worked on dramas such as
the "Singing Detective". Kristina started editing in 1993 and has edited many short films
such as the Palme D'Or winner: "Is it the Design on the Wrapper".




                                                     26
                                 PARALLAX EAST
                                COMPANY PROFILE

Parallax is a company with a history of film and TV production stretching back over
fifteen years. Parallax East Ltd, the latest phase of the company’s development, was
formed in April 2005 as part of our move to a regional base in Colchester, Essex.

The decision to move to a regional base is in keeping with being a company that has
always made films in the regions of the UK or abroad rather than in London. It is our
intention to continue working in this way, building our relationships and ties with the
regions and nations of Britain. In practice, this means working both in development and
production with both new and established talent around the country, giving a voice to
communities that would not otherwise be heard. It was a logical progression for Parallax
to move away from central London.

In keeping with this profile, our next two major developments are I KNOW YOU
KNOW written and to be directed by Justin Kerrigan (his second film after the cult
success HUMAN TRAFFIC) and due to be shot in Cardiff and LARMEN REGISTER
written by Nick Whitfield (a relative newcomer to screen writing), and located in the
Fens. Both of these projects are at a fairly advanced stage of development and we are
hopeful that one of them will be our next production. Another project at an earlier stage
of development is provisionally entitled ASBOS and is a lighter hearted look at the
complications and difficulties of life on an estate where almost everyone is an ASBO
recipient. At the same time we are developing a series with Alan Plater set around
goalposts in different communities around the country.

We run Parallax with low overheads in order to ensure we can contract if necessary
during economically tougher times. Sally Hibbin has a long established track record as
both producer and executive producer. Wendy Lilly works alongside Sally on the day to
day administration and finance of the company and in all areas of the administration of
projects in development. Wendy’s background is production and often budgets and
schedules projects for Sally. She also deals with some of the legal aspects of early stage
development. The remaining members of the team are Janet Clark, who is the company’s
part-time accountant and Kate Wilson, our business affairs and legal advisor on
developments and productions. We rely on bringing in creative development staff on a
project by project basis and have one voluntary script-reader.

With this move to Colchester, we really want to reach out and access new talent in the
area. We will be setting up a website to attract new writers, directors, producers and
script editors to get involved and use the experience of the company and hopefully access
parts of the TV and film industry they might otherwise have difficulty reaching.

Parallax’s most recent productions have received considerable critical acclaim and
extensive festival and audience success. The first of these was BLIND FLIGHT, the
story of the kidnap and incarceration of Brian Keenan and John McCarthy starring Ian



                                            27
Hart and Linus Roache and directed by John Furse, a first-time director. The film was
noted for its two central, prize-winning performances. YASMIN directed by Kenneth
Glenaan, is set in Keighley and is the story of a young British Muslim woman played by
Archie Panjabi and the effect on her life of 9/11. The film found a strong audience both
at home and abroad, achieving high profile festival recognition throughout the world.

Sally is about to complete principal photography on the company’s next film, ALMOST
ADULT, written by Rona Munro and directed by Yousaf Ali Khan, another first-time
director. The film is a UK/German co-production which started shooting in November
on location in Birmingham. YASMIN had its UK television premiere on Channel 4 and
ALMOST ADULT will do the same. YASMIN achieved high view figures and was a
great success for the Channel.

Prior to these recent productions, Sally Hibbin produced numerous films under the
Parallax Pictures umbrella. She collaborated for several years with Ken Loach,
producing such highly acclaimed and award winning films as CARLA’S SONG,
LADYBIRD LADYBIRD and RIFF RAFF. She also produced the BAFTA and EMMY
winner A VERY BRITISH COUP and BAFTA nominated Channel 4 drama DOCKERS.

When Parallax Pictures dissolved in early 2002 Sally set up Parallax Independent and has
now moved this company to Colchester and founded Parallax East in recognition of the
re-location. It is our intention that Parallax East will become the main operating
company as we branch out further in a fresh and dynamic area.




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