BUFF Enterprises

The first month of Olympic year in London has not failed to disappoint in terms of celebrating the best of British. At the time of publication of this blog came news that the network television premiere of ‘Sus’ – co-produced by and starring Clint Dyer attracted 600,000 viewers on BBC 1, dominating all TV viewing at the time of broadcast (which at 11.15pm is quite impressive). Previous BUFF blogs and the festival in general have championed the likes of films like ‘Sus’ and will continue to do so. For everyone involved in its success to date, there is satisfaction to be had from a UK independent film being appreciated by the mainstream. News of the film’s success came in the same week that the coalition government commissioned a panel to draw up proposals to increase audience choice and grow the demand for British films in the UK. The panel, chaired by former Culture Secretary Lord Chris Smith commented on how British film is currently going through a golden period: “A run of British-made and British-based movies has been taking audiences around the world by storm. But we cannot be complacent.” Complacency is certainly not a trait you can lay at the door of this month’s guest blogger who, although is known to his peers and fans as an actor, is also immersing himself as a writer, producer, director and founder of his own acting school. In the first of a two-parter, Aml Ameen writes exclusively for the BUFF blog and gives us a rare insight into his own take on UK film & broadcast media and what he sees as the way forward. Part 2 will be published next month…

While in London, home for the holidays, and fresh off shooting my recent AmeenDream short film “12″ The damaged race, (which is a short film about London in 2011), I attended a screening of The Naked Poet. This is a feature film, funded, starring, written and directed by a good friend of mine Jason Barrett. The screening was a success, and brought about much debate surrounding British films from an urban perspective; the stories being told; the way in which companies that are making urban films are debasing themselves for commercial success whilst lacking diverse creative story telling – in essence the state of this ever growing UK urban film industry. Let me be clear – when I say urban, I not only mean BLACK, but also the YOUTH of the UK which has become an amalgamation of so many cultures, and races, potentially a very multifaceted NEW generation of young people.

After the screening, as everyone was heading to the bar to indulge in free cocktail (me included), I ran into BUFF founder Emmanuel Anyiam-Osigwe, a graceful welcoming guy I had previously met several years back at an event, but never having held a full conversation. Early on last year while in the States, Emmanuel had gotten in contact with me, regarding two AmeenDream Entertainment short films that he’d heard of from my production company launch in April. “Special Delivery” a silent film, and the online favourite DRINKS DRUGS AND KFC (HYPERLINK “http://vimeo.com/23434756″ \t “_blank” http://vimeo.com/23434756) written and directed by me. 

Emmanuel screened both these shorts at the BUFF film festival. While in the halls we caught up on the film ‘The Naked Poet’, on my success across the pond, on my film making here in the UK, and then he posed the question to me, why did I not discuss my thoughts during the Q&A session? Why did I not share my opinion on why British actors are on an exodus to the states? Why are people not supporting different types of films from an urban perspective? What do I make of my peers in the UK essentially picking up a camera in frustration and creating work for themselves? “I’m sure people would be interested in hearing your opinion”…

I smiled at this man, with respect, and responded “I prefer to be active and be the change I personally wanna see” (sound corny?) perhaps, but very true for me. I hate fucking complaining! Especially when I’ve seen a fair amount of success from the UK film industry; especially when I believe in my generation who are making world wide moves, and especially when I’m aware that I’m in the company of people where my opinion is valued. Emmanuel then smiled, and I could tell the cogs were working rapidly, as he then asked “Would you consider writing a blog for BUFF sharing you experiences and opinions?”…

(Smiles) So this is my attempt to do so, though I have written a blog before which I very much enjoyed. “AmeenDream Journey”, which was about my experience in the States before signing on to “Harry’s Law”, was very much to inspire any of the up and coming artists out in the UK. I suppose this blog will be about my opinions (which I very rarely share) on UK film; I’ll discuss briefly why I left for the States and why I’ve turned down a few notable UK projects; Why I began AmeenDream Entertainment; The success of my peers in the UK independent film world and what I’m sure will be the controversial short film “12″ when it is released.

Frustrations: (The future is Trans-Atlantic Business)

Being a Hollywood actor has always been the dream of mine from an early age. Growing up in the UK, there were very few “stars” that I could look up to, that looked like me from my home town. I would run to my mother upset, saying how was I going to make it as an actor speaking with a British accent. Thank God for Adrian Lester in the film Primary Colors, who gave me my first bit of hope. Fast forward 15 years and there are many people pioneering a generation of what is becoming known as British American Actors, (British actors that primarily work in the US), of all races. From a black perspective it’s getting better and people are making waves to allow future generations an easier leap over. The future to me is a trans-Atlantic career, and British actors having more of a presence as their British selves in America.

WHY is there a mass exodus to the U.S. is the question? To me, the quality of roles and variation of characters that are available for black British actors (particularly young black British) in Britain, in terms of collective narrative story telling, is nothing short of abysmal. To be blunt, the characterization of youth stories are damaging, limiting and very telling of the perception of the youth in our country. I have encountered a few opportunities to come home, and work (most of which I’d love to do) however the roles have either been revamped versions of characters I’ve already played or just degrading. I was a part of the movement and franchise that was Kidulthood/Adulthood. At the time when these films were made, there was a yearning for the tales of disgruntled youth to evolve from how terrestrial TV were portraying them. We (young people) wanted to see ourselves on screen; our language, our culture, our real life. I think that in no small part to the likes of Kidulthood, Adulthood & Bullet Boy and also with the commercialization of urban music, this has been achieved. 

I personally am now FRUSTRATED that this is all we are seeing. Being clear on my point, I don’t think gritty street films/TV shows should go away, on the contrary a great story is a great story but we (the audience) are not stupid; we can quickly identify the difference between an honest piece of entertainment and watered down, formulaic, “riding a wave” type films, that not only lack in quality content, but are there for pure commerce and rarely achieve that goal. Bullshit doesn’t stand the test of time, quality does. It would be nice if more of our talent were in a position to refuse work that doesn’t push the growth of our diverse culture. It’s quite possible that people are choosing to do exactly that and if so I stand corrected. It would be nice if the major channels supported a “changing of the guard” of the sort where we see less shows that are about the hardships of street life (for now), and instead perhaps (maybe) we start to watch dramedies, non- race specific action thrillers, or shows about relationships.

Where are our ‘young people’ films like The Goonies & Back to the Future? Where are our period pieces like The Wonder Years about a time in the 60′s and 70′s? Am I dreaming too big? A bit deluded perhaps to think these things are possible? Are there not people writing this kind of material? Or are they just being backed into a corner (much like young black British actors) having to perpetuate the same stories and being told “There isn’t a market for it”. Many of my friends and previous colleagues are working behind the scenes to change this, much like I am, so my words are not to discredit their efforts, or the efforts of others working to change this, or to downplay the recent success we’ve had in “Small Island”, “Luther”, “Anuvahood” (a comedic play on the street thing), but merely to re-awaken a much discussed and complained about issue – “developing the representation of black actors and urban youth in entertainment”.

Growing up, films and TV shows were one of my first points of call to an education of the world outside of my sphere. Entertainment not only informs and shapes opinions, but plants seeds that help change the world. An example of this is President David Palmer in “24” played by Dennis Haysbert. The powers that be introduced the masses to the notion of an African American President, which in turn planted the seed for a future realisation of this, and that the idea of a black President was not obscene or an impossibility, but almost a projection of a time we were heading towards. To a lesser extent I remember receiving emails during my time at The Bill, where young black males were telling me that through my character Lewis Hardy, they could see themselves thinking about joining the Metropolitan Police – one young man even wrote to me saying he did indeed join the Met as a result. Entertainment is powerful, and I agree sometimes should be reflective of life, but at other times should be aspirational. Is it just me that feels this?

What good is coming out of this? The birth of the independent film maker – innovators who are using technology and the internet as an outlet for new material and for work to be shown. My hope is that these projects become more supported through finance and that production companies, and TV companies alike take a risk and support quality work, that can become commercial. Trust me I love commercial films as well as indies, I’m not a complete believer in art over commerce, I’m just saying can we not beat a dead horse, until all that’s left is the carcass, and that no one wants anything to do with “Street Films”.

Buff Enterprises is the home of urban film coverage in the UK. Keep up to date online at www.britishurbanfilmfestival.co.uk BUFF 2012 comes to London in October.

In keeping with the tradition of listening to a rather powerful woman just before you’re about to embark on what’s really important – or maybe you’ve already squashed Christmas lunch by the time your attention is perhaps swayed by a certain Elizabeth Windsor – its’ time we took note of another Christmas message – the one being brought to you by another powerful woman (Sheila Nortley) who is fast becoming a regular fixture on the urban independent film circuit. And before we hear from her, BUFF would like to thank all of this year’s guest bloggers who’ve graced these pages with their inspiring words including Anjela Lauren Smith, Wil Johnson and Kamara Bacchus – long may the passion continue. We leave you now with the December edition of the BUFF Blog, guest-written by Sheila Nortley…

This has been the year of who are you and who do you think you are. For many I have spoken to, a year of self reflection, growth, preparation and development. I find it hard to separate myself from my career, and I don’t really think this is a bad thing. Designed by the mind of the Most High and Most Near, I’d assume that we are complex and deep beings. And everything we do and say is as a ripple in the ocean, a butterfly effect. So my career, my family, my character, my talents, my mood, my prayers, my fasting, my being – all are very much related.

This is why I nearly told Emmanuel that I didn’t want to write the blog and that I had nothing to say. The premise of having my 15 minutes doesn’t do much for me. I nearly told Emmanuel that I didn’t want to write this blog because it would be hard for me to write about my year, my career, my hopes, dreams, and aspirations without, in one way or another, writing about my thoughts, my opinions and thus my self. Thoughts are precious things to be valued and treasured and nurtured when productive – regardless of what Twitter tells us – and I didn’t just want to ramble on. Why would I? Like, who am I? And who do I think I am? This has been the year of who are you and who do you think you are.

I’m Sheila Nortley. Writer. Producer. And a Managing Director of Kingdom Entertainment Group. I am also a daughter, a sister, a friend, a niece, an aunty, a cousin, an enemy, a mentor, a mentee, a believer, an unbeliever, an entrepreneur, an employee, a contact, a fan, an ex, a partner, a memory of a smile from a random stranger passing, a sista, a human, a queen and a slave depending on the transcience of context and perception.

Here and now, in this context, on your browser, I’m assuming the honour of being the guest writer for the final British Urban Film Festival blog of 2011, yet it’s ironic that I’ve been asked to write this blog as I don’t really like to talk much. I’d like to think I’m of those who’d rather do. I do, until I have little time left to be. And then I be, and in that time I do not like to do. Whilst trying to find the balance between doing and being, what time is there really to talk?

So, I was going to tell Emmanuel: “Brother. I’m sorry. I have nothing to say right now.” Who really cares anyway about the eccentric nuances and electric abstractions which dance around in the synapses of my mind? And even if suddenly everyone wanted to know – for some reason – what I thought and felt about my year, I rarely feel the compulsion to share such intimacies with a bunch of strangers when even good friends are hard to find these days. (I hope this doesn’t offend you – I know you know what I mean.)

So yesterday, I was going to tell Emmanuel: “Sorry brother. I have nothing to say.”

And then, Jacob ping’d me. His BB status said: “why am I fighting to live if I’m just living to fight”.

For those of you who don’t know, it was the conversation I had upon meeting Jacob in the park in summer 2010 that inspired me to embark on a venture which consumed my time, my mind, my resources, my energy and my heart throughout 2011. My film, Zion. We met by ‘chance’ in the park – what I know to be the undeniable poetry of the One who knows all things and His eloquence with time and destiny. Jacob was a sixteen year old boy with a seemingly broken hand, who was scared to go to the hospital because he’d seen so much death there. A boy who had been labeled with ADHD since he was 4, yet spoke with the softness of a broken boy with a gentle soul, or a gentle boy with a broken soul – one or the other. A young man who, when asked where he saw himself in 10 years time, said to me: ‘To be honest with you, Miss; I don’t.’ One day, 6 months later, a script was written, and a beautiful cast and talented crew produced a short film called Zion. Jacob was supposed to attend the premiere but he didn’t.

He had community service and was so upset he couldn’t make it. I told Mr Elusive he should write something on the Facebook wall; told him I would mention him in every interview and that people would soon start to suspect if he’s even real. (He said he would, but he hasn’t yet.)

In light of the success of the night; the glamour, the inspiration, the buzz, the hype, the excitement of friends and family, supporters of and believers in, ladies and gentlemen, journalists and celebrities, thespians and socialites, speakers and thinkers, doers and dreamers, lovers and, dare I say, “haters” (cringe) despite all this magic on the premiere night of a film inspired by the conversation I had with him – here he was, on my BB, yesterday sad as ever. I could send you a screenmunch (screenshot of phone screen). His BB status said: “why am I fighting to live if I’m just living to fight.”

I asked him what was wrong and he replied: ‘Had a madness. Dere’s guna b a prob dis tym tho…’ We spoke a bit more, and I felt so useless; I asked him if he could ask God for one thing what would he ask for and he said ‘To hurry up n end it. Big man ting. Jus feel 2 give up’.

This is a boy that on a dark night, if he rolled up to you on a pushbike with his hoodie down low, would frighten you – here he was telling me how vulnerable he is. I lament for all the victims, misrepresented as the villains – even those who become villains at the torment of their very nature. If you don’t see the value in your own life, or your purpose for living, the consequences could be dire – you don’t have to be a young black child growing up in the estates of South London to know this. We can all relate to this one way or another. At some point, we have all doubted our value, and deviated from our purpose [if we ever knew what it was]. Wow. He confided in me that he wished God would end it all. That hurt.

Then my thoughts turned to the inTOUCH youth event that the team behind Zion held just before our glittery premiere. It was set up for the young people to speak up and have an open forum with Ashley Walters, Jaja Soze, Rashid Kasirye, Dexter Simms etc, watch some films, and some performances and just vibe. Wow. What an unruly group we had. Some of them were so disrespectful, talking over speakers, talking over the films, fighting, arguing to the point that security had to get involved.

…But wait, this is for you. Why is it so hard for you to accept this small gesture? Perhaps it is so unfamiliar to you that you do not know how to respond to love? If you don’t see the value in your own life, or your purpose for living, the consequences could be dire. If you don’t respect yourself, how are you going to respect anything else?

InTouch was, to be honest, a bit of a nightmare – let’s keep it real – like, it was a nightmare. BUT this simply illustrated how much attention the youth crave and confirmed that the film was necessary.

The Premiere event followed – I couldn’t have asked for more. The film was well received. Reviews have been excellent; better than I could have hoped. Who for a minute underestimated the minds of the masses and thought that spoonfeeding us mind-numbing rhetoric day in day out on mainstream TV, would cause us to forget the sweet delights of independent cinema, in all its’ rugged imperfect and beautifully raw glory?

To every single person that came and understood the film, I thank you and celebrate you daily. There were so many people behind this production and so much inspiration drawn from so many more people.

And, as a self-confessed Ebenezer Scrooge who denies many of the festivities of this season, who else would I celebrate? I’d celebrate the writers whose plays this year moved my mood like the moon controls the waves; Arinze Kene and Beau Willimon. The people I’ve worked with all year; Najan, Duane, Abiola, Daniel Bailey (you know its a powerful brother when you can’t mention an individual without including the surname), Sebastian Thiel, Aisha of Red Pepper Agency. Thank you for putting up with the idiosyncrasies of a mad scientist – I hope I’ve made it interesting for you. And of course, Miss Kyle Frye and Shomari Brown: the future of black British cinema whose talent has found that perfect balance between refinement of the craft and raw talent. Ryan Samuda, my director and friend [thank God we’re still cool after this film] and the entire Zion team. I respect the inspirational entrepreneurs I’ve met this year like Dexter Simms, Ismael South, Raymond Douglas – inspired visionaries that build and strive day in and day out for the people and not just for material gain or status.

I respect people like my dear friends and mentors, Stephen Lloyd Jackson and Andy Mundy-Castle. I respect people like Richie Campbell, Sway and Ashley Walters who have managed to stay so grounded, down-to-earth and humble despite their massive success and achievements, actors and artists who have refined their art with mastery, and not at the expense of their sense of humour and good manners.

I respect people like Jahnoi Cranston and Alesha Pryce, who love their art and work hard to achieve their dreams and have an impact in whatever piece they are working on, and do so with a smile. I respect people like Kamara Bacchus and Dionne Reid and Anisa Kissoon, who are smiling high-achievers with such grace and elegance and inspiring other sisters to dream big and never lose themselves. I appreciate and love my mum and my dad who put up with this black sheep through thick and thin, in sickness and in health, and taught me to follow what I believe in. My family is the best and without their support, I’d have nothing to celebrate.

I would like to celebrate the British Urban Film Festival for providing a platform for us to present the fruits of our labour for public scrutiny, praise, constructive criticism and thought-provoking discussion. I was greatly humbled that this year I discovered by chance that I had 3 films I worked on accepted in the festival (David is Dying, Special Delivery, Drink, Drugs & KFC). Had Zion been ready earlier it would have been four, but I stubbornly refused to hasten the process, advised by wise words from Wil Johnson at the Screen Nation nominations launch by the bar. Emmanuel’s kind words and support for me this year have been so encouraging. Thank you Emmanuel and also to the stunning actress Anjela Lauren-Smith, who is often seen with him. Thank you Anjela.

And as we celebrate together we give all thanks and praise to the One to whom it all belongs. The final curtain is drawn as we enter the last few weeks of 2011 and the energy at the moment is buzzing with anticipation as the promise of 2012 draws closer. As the world gets crazier, some aspiring filmmakers are zealous with drive and passion, and others crazed with an unquenchable thirst for prestige and power, success and fame.

With the social entrepreneurs building new doors to previously inaccessible pathways, and the game-changers marching into the brick wall (which used to seem so high and wide and solid before) brick by brick it crumbles away and the army begins to march through, together, to a triumphant fanfare. Together, as romantic as it sounds, seems to me to be the only way to progress. Competing with anyone would suggest that I think success is much more dependant upon my competence and determination than it really is. I’m not saying that I don’t work really hard, but I know Who gives and Who takes away. Everything is written. So I just do the best I can and try to trust Him. Yet, I have seen ego drive people to the point of loneliness, paranoia and writers block. The concept of all three frighten me. (You need to be open to bring anything into being) It’s nearly 2012.

Time has flown by like a jet-fighter and whether or not you entertain a conspiracy theory or two, or have any religious inclination indicating the dawn of a terrifying New World Order, then you will at least know this: by the time you have finished reading this you are closer to your death than you were before you started reading this, and let this undeniable fact encourage you to make the most out of every second and every opportunity to achieve true success in this life and the next.

So that was today’s message – just when you think you had nothing left to say, remind yourself of all that you are grateful for and give thanks for what you have been blessed to achieve so far. And just when you think you had nothing left to say, remind yourself of how much work we have yet to do and how much further we have to go to honour the struggles of those who came before us and prepare the way for those who are yet to come.

In the words of Kelis: Learn from losing, Cherish winning.

Happy New Year everyone.

From Top Boy to Wuthering Heights, the much vaunted and much celebrated prominence of cultural diversity in British film and TV shows no signs of abating and continues to rouse and excite cinema buffs both here and abroad. In a month which has already seen Sket, Demons Never Die & Death in Paradise entertain the masses, there is much to take in – including yet more awards for David is Dying; introducing the newest member of the BUFF board, journalist and filmmaker Jessie Grace Mellor; and not forgetting the latest James Bond title as the year draws to a close.

Bernard Kordieh

picture courtesy of www.alexwinn.com

“Charles Thompson is a Godsend. I’m fortunate to have started out in media under the tutelage of Charles almost a decade ago now. I was there when Screen Nation was in its infancy and I’m privileged to still be a part of it all albeit as a supporter of this year’s event where another of my mentors (Menelik Shabazz) will be rightly honoured also. I have a lot of time for Charles who in turn has shown a lot of time for me and for so many people in the film industry who would’ve taken great pride in hearing of his award of an MBE earlier this year. May you enjoy good health and continued success in everything you pursue”… Emmanuel Anyiam-Osigwe, British Urban Film Festival

And it’s with those sentiments (available with a whole host of others inside page 7 of the Screen Nation brochure) that we welcome you into the fold for another BUFF blog fresh from being wined and dined by one of this year’s festival partners at London’s showpiece Black History Month awards show. And whilst it was never going to be Sunday Night at the Palladium, it was a lively old affair for many of the great and good from film and TV who came together for the return of the Screen Nation Awards, the 7th in all and the 1st one making its’ bow at the rather plush Indigo at the O2 complex in Greenwich.

From the moment comedian Kevin J took to the stage to ‘warm up’ the crowd, the evening’s vibe was set in many ways, mainly that at various points if it wasn’t most of the awards winners (27 in total) then it was definitely a fair few of the awards presenters who took to the mic and enlightened the faithful with their lethal brand of head shaking humour (the TV highlights should make for interesting viewing). One of the big winners on the night was the movie ‘The Mirror Boy’, a film flagged up by this very blog back in February and which has gone onto amass critical and popular acclaim from fans and pundits alike. The film’s director, Obi Emelonye was at pains to remonstrate with BUFF as to why the film was not considered for the festival just over a month ago. Well it just so happened that the festival was onto a winner (also) with ‘David is Dying’ which, at the time of going to press, is currently impressing audiences once again, this time at the Chicago International Film Festival.
Another festival film which impressed audiences both at home and abroad was ‘Sus’ for which actor, writer and director Clint Dyer collected a thoroughly deserved award for best male performance in Film. Getting caught up with events (and the wine) at the O2 meant that there was a social media vacumn of sorts – one can only imagine what the twitterati and others would’ve made of events as they happened. And though premiership footballer Jay Bothroyd (Queens Park Rangers) and his missus were amongst those in attendance, the stories that we shared were certainly not going to make any back pages (or front), not unless you count going to the same school as Heartless Crew and former Arsenal legend Charlie George as ‘gossip’. From all accounts, Mr Bothroyd certainly fancies himself as an actor… well if it can work for Lonyo it can certainly work for the Holloway boy whose done rather good – watch this space as they say…
Speaking of which, a reminder that you can catch up with all the very latest post-festival coverage on our website www.britishurbanfilmfestival.co.uk where a visit to the press section will bring you all the interviews from the great and the good at this year’s British Urban Film Festival, the latest chunk coming from our friends at The Community Channel (Sky Channel 539/Virgin 233/Freeview 87) – check out the London 360 magazine programme http://communitychannel.mediatrust.org/video/tTpVMHqubo4/
Many thanks to the team down there: Jasmine Dotiwala, Alex Kann and Simon Constantine to name but 3, the latter of whom is an absolute dead ringer for broadcaster Michael Underwood so if for some reason, Michael’s wife (and mother-to-be) Angellica Bell needed ‘cover’ as it were, then look no further…
Anyway bringing it nicely back to the Screen Nation Awards (hosted incidentally by Michael Underwood and Angellica Bell) and other highlights on the night included honorary awards for the film ‘Burning an Illusion’, the comedy series ‘The Real Mccoy’, broadcaster Sir Trevor Mcdonald and the actor Clarke Peters who had the audience in the palm of his hand with his humbling acceptance speech – one of several little nuggets to be had from the evening which was rounded off by a rousing rendition of Omar’s signature track…
And that was the awards that was. Congratulations to all 27 winners, long may the passion continue in everything that you continue to do through your work. The same can be said for the boys and girls at Screen Nation (many of whom are friends of the festival) – long may such occasions continue.
Tis the season to be hibernating but fear not, for BUFF will be out and about on your behalf, scouting, on the lookout for the 16 buffest films for the 2012 festival which is only a year away… This month’s blog marks the official call for submissions for next year’s festival. Those of you who are familiar with BUFF will know that to be a part of it all as a filmmaker, then you’ve gotta show us what you’ve got. For all the details as to what’s required, when, why, where and all the rest of it, go to the website and click on BUFF Submissions 2012. We leave you with another chunk of buffness from the festival, courtesy of our friends at Vox Africa: http://www.voxafrica.co.uk/vod/videos/&v=0_96905i64&p=0_aknxkygp

Mr Geoff Small, Mr Stephen Lloyd Jackson, Mr Yves Brodsky, Ms Sonja Phillips, Ms Jane Sanchez-Gull, Mr Aml Ameen, Mr Cassius Matthias, Mr Lyndon Ives, Mr Harold Chapman, Ms Ida Akesson, Ms Beth Parkes, Mr Richard Bond, Mr Ben Miller, and Mr Paris Leonti.

Having saluted our 16 shortlisted filmmakers BUFF would like to thank all of those other talented filmmakers who’ve submitted their entries for festival consideration – it has been a privilege to watch them all. We would also like to thank the men and women who’ve worked so creatively behind the scenes to bring you the best festival we can. And so for the final time before the festival, from all of us at BUFF we wish all of you who are coming to watch this year’s sweet 16  – the buffest 3 days of your lives…   This month’s edition of the BUFF Blog is devoted entirely to the official line-up and the programme for next month’s jewel in the crown. The woman tasked with polishing that jewel and announcing it to the world at large is our lead festival publicist Leigh Odimah…

The British Urban Film Festival 2011 comes to the heart of London’s entertainment district.

16TH – 17TH – 18TH SEPTEMBER 2011 Congress House 23-28 Great Russell Street London WC1

As London Fashion Week and the London Design Festival turns creative London’s attention to fashion, style and design – for avid film goers the spot light shines on the capital’s film festival season. The 6^th annual British Urban Film Festival is offering Londoners the opportunity to watch films made by some of Britain’s most engaging and independent film-making talent in heart of the London’s West End.

BUFF Loves FREE film, and at absolutely no cost to watch, Londoners are invited to Congress House 23-28 Great Russell Street London WC1 to watch sixteen films made largely by British film directors and producers; a showcase of exceptional and unpredictable tales that challenge society’s status quo; Tales that are heartwarming, touching, cheeky, funny, and at times difficult and unsettling to watch with film themes that cut across the grain including HIV, mental health, the benefits system, London’s young adults, the socio-economic climate, relationships in crisis, the world of stand-up comedy, the UK justice system, romance and fated love.

Friday September 16 (Doors open 6.30pm – 11pm)

7.50pm: Special Delivery (dir Geoff Searle, UK, 7 mins)

8.00pm: David is Dying UK Premiere (dir Stephen Lloyd Jackson, UK, 91 mins)

9:30pm: Live Q&A with Henry Bonsu, Stephen Lloyd Jackson, Lonyo Engele & Isaura Barbe-Brown

Saturday September 17 (Doors open 5pm – 11pm)

5.45pm – 8.30pm: BUFF SHORTS UK Showcase (back-to-back screenings)

Juana (The Slave) (dir Yves Brodsky, UK/France, 3 mins)

The Pond (dir Sonja Phillips, UK, 16 mins)

Hitler & Henry VIII (dir Jane Gull, UK, 6 mins)

Drink, Drugs & KFC (dir Aml Ameen, UK, 27 mins)

The Entropic of Cancer – a trilogy of short films:

Holler (dir Cassius Matthias, UK, 11 mins)

The Public Benefits (dir Cassius Matthias, UK, 13 mins)

It’s a Serendipitous Thing (dir Cassius Matthias, UK, 11 mins)

Delphine the Baker’s Assistant (dir Lyndon Ives, UK, 12 mins)

Invisible (dir Harold Chapman, UK, 15 mins)

The Holiday (dir Ida Akesson, UK, 11 mins)

Special Delivery (REPEATED – dir Geoff Searle, UK, 7 mins)

Followed by live Q&A with the directors and Festival Director Emmanuel Anyiam-Osigwe

9.00pm: Damilola: Death of a 10 year old (dir Beth Parkes, UK, 60 mins)

Followed by live Q&A with panellists including Richard Taylor OBE, Gary Trowsdale (Damilola Taylor Trust), Dennis Gyamfi (Endz to Endz) and Andre Campbell (Enfuse Youth). Hosted by Henry Bonsu.

Sunday September 18 (Doors open 3pm – 11pm)

3.30pm: Tupac Assassination – part 1: Conspiracy or Revenge (dir Richard Bond, USA, 93 mins) introduced by Festival Director Emmanuel Anyiam-Osigwe

5.30pm: Huge – The Movie (dir Ben Miller, UK, 78 mins) introduced by the comedian Lateef Lovejoy

8.30pm: Mercenaries – UK Premiere (dir Paris Leonti, UK, 93 mins) introduced by Buff Board member Anjela Lauren Smith

Followed by live Q&A with Paris Leonti (dir) Luc Chaudhary (prod) lead actor Robert Fucilla and Vas Blackwood

Due to the explicit use of language in some of the films, viewer discretion is advised.

Book on-line now on http://britishurbanfilmfestival.co.uk

Contact BUFF Publicist Leigh Odimah for further details.

email: pressoffice@buffenterprises.co.uk

phone: + 44 (0)7961 332302

Facebook : https://www.facebook.com/buff.filmfestival

Twitter : @buffenterprises

BUFF 2011 will also be streaming 4 short films on its’ festival website starting on September 15.

The 4 films that have been shortlisted are Get in the Picture, A Mother’s Tear, Sweep and Scratch.

Keep up to date with the festival with regular updates on ‘The Daily BUFF’ (available via Facebook and Twitter).

Who would be a media mogul ey? The last few weeks and months has seen the likes of Simon Cowell and Rupert Murdoch become the story for the wrong reasons. For months, the press were told who was in and who was out in the game of musical chairs regarding this year’s X Factor judges. Eventually we said goodbye to Danni Minogue and Cheryl Cole and hello to Kelly Rowland and Tulisa Contostavlos (Peter Dickson, the voice of X-Factor will certainly have his hands full announcing her name in full every week). Eventually we got a date for the launch of the American X Factor which heralded the return of Paula Abdul (formerly of American Idol) and once again, the exit of Cheryl Cole. And then there was the furore regarding anonymous blogs and the tapping up of contestants in this year’s Britain’s Got Talent.
In January, the ex-footballer and Sky commentator Andy Gray was caught on camera asking to rate how buff a female lineswoman was. Other evidence then came to light which showed him to be even more cruder and it led to his sacking by Murdoch. His TV partner, Richard Keys also fell on his sword. And in the last few weeks there has been the issue regarding alleged tapping of voicemails, unethical payments made to police officers and the closure of the News of the World, a brand which stood for 168 years until it was deemed as toxic despite being Britain’s most commercially successful newspaper by its’ owner, Rupert Murdoch. And at the time of writing this blog, ‘hackgate’ has seen the demise of the Metropolitan Police commissioner, the arrest of Rebecca Brooks, and demands by the leader of the opposition to dismantle Rupert Murdoch’s vast media empire.
At the other end of the scale there are other moguls creating legacies and needless to say with stories to share though not quite as newsworthy or deemed as topical as those that have been highlighted thus far. That said, news outlets and news values are not restricted to your usual news at ten bulletin, your free edition of the standard or your 24 hour news channels. The BUFF Blog stands out more than most because of the unique range of voices and stories that have been shared on this platform since the first publication back in April 2009. This month’s edition is guest written by a mogul, an MBE, a mentor, a friend and someone for whom if it wasn’t for their passion then there may never have been a British Urban Film Festival let alone a BUFF Blog. In his own words, Charles Thompson MBE writes exclusively for BUFF (note to the press – there’s no scandal here!)

 
Keep your friends close and your frienemies closer still.. Now that’s a saying that was made for the movie business if ever there was one, but also one that I’ve never quite fully subscribed to as I would have thought that you should keep your friends closer. Maybe that shows I’m really a romantic at heart and besides it’s just a saying, a good one, but just a saying like the one that says ‘you are only as good as your last picture’. Now this one I subscribe to much more as it’s sometimes a reasonably good measure for producers when assessing whether to work with certain individuals in this business called show.
Fortunately for me after being ‘out of the movie-making game’ for a good few years, the last picture I was involved with as (Associate) Producer was a good one, the barnstorming new Nollywood African cinema production, The Mirror Boy (wri/dir/prod Obi Emelonye). For the many of you that have never heard about this picture, it’s a low budget (under $100K) movie shot last year in the UK & Gambia and starring British born Ugandan newcomer Edward Kagutuzi and two of Africa’s biggest movie stars, Genevieve Nnaji and Osita Iheme (popularly known as Pawpaw). www.themirrrorboythemovie.com

So why do I, as a grizzly veteran producer describe this picture as a good one, well because it’s a success, simple as that. For such a small independent African/UK picture to do as well as this one is doing in the highly competitive theatrical marketplace is something that I’m more than happy to shout about and be very proud of my contribution at the same time. I won’t list all of its now historic schedule of achievements save to say that it was the first new Nollywood African movie to premiere at The Empire, Leicester Square, first movie of its type to be released across the UK on Odeon screens (opening at No.5 across Odeon London screens and 28 across all UK Box office on only 10 screens & still showing now 6 weeks later (1 screen), its been nominated and won awards across Africa, Europe and USA and is on course to possibly become the highest grossing of the recent crop of new Nollywood films, and earn the producers (including yours truly) some nice returns on our profit points.
The Mirror Boy has been released in Gambia and my home country of Ghana and will premiere in its natural home of Nigeria on 5th August and I wish it well on its journey of success around the world. Talking of success, it is especially pleasing for me to know that I can tie the success of The Mirror Boy opening weekend release with my own personal success of receiving an MBE for Services to the Global Black Film Industry in the 2011 Queen’s Birthday Honours List. What a weekend that was!
My own personal success aside, for me the honour I received also reflects recognition of the recent success of British urban cinema. I enjoy much of what is broadly described nowadays as the urban cinema genre, but some of it is also very weak and exploitative and as long as Gunslinger/Revolver have the market cornered in terms of production, financing and distribution not much is likely to change. But let me flip the script a little and say that having been in the game as long as I have, I see urban (aka mostly black British themed) cinema in a slightly different way, as for me its history goes much further back than say Kidulthood. That is a whole other conversation, but one I think the young guns should begin to have more with the OG’s, especially in this the 30th anniversary of one of the most seminal British ‘urban’ films, Burning an Illusion (wr/dir Menelik Shabazz).
For those that do not know, Menelik Shabazz is one the UK’s most talented and sorely underused film director’s (of the standard and peer of Stephen Frears) and with whom I’m proud to say I had the honour of co-founding the (now defunct) bfm International Film Festival and where I first encountered Emmanuel Anyiam-Osigwe, who would go on himself to found the British Urban Film Festival. I’d like to think that the experience that Emmanuel had with bfm Int. Film Fest during my tenure had much to do with him moving forward to create BUFF. Only he can really say.
What I can say is that my own experience leading the bfm Int. Film Fest for 4 years to become the UK’s leading black-themed film showcase and the 3rd largest in Europe, set me up for founding in 2003 the event I produce now, the Screen Nation Film & Television Awards aka ‘the black Bafta’s’.
With 6 editions under our belt and having taken a hiatus for the last 18 months, many readers will be happy to hear that the Screen Nation Awards will return in grand style at the Indigo O2 this coming October. For those that have never been before you can expect to mingle with the crème de la crème of the black British and urban media scene across film, television, music and new media and participate in a fun filled night of celebration of black British achievements. Anticipated guests for this year include most of the writers of this year’s BUFF blog plus talent as diverse as Idris Elba, Thandie Newton, Adam Deacon, Bunmi Mojekwu, Lenny Henry, Sir Trevor Macdonald OBE, Noel Clarke, Femi Oyeniran, Naomie Harris, Aml Ameen etc, etc.
It is talent at the level of those listed above that I’ve had the pleasure of working with for over 20 years as a producer and hopefully many more to come. Many of those people no longer operate in the UK or are at the autumn of their careers, but it’s on their shoulders that almost all of another kind of BUFF, the British Urban Film Fraternity now stands. Being someone with broad shoulders myself, not a lot of people know about my film & TV making history and certainly imdb doesn’t hold all my important credits. Something I should really try and change soon now I’ve been given a gong.
Its only when I think back that I realise that I have been fortunate to have a career that has weaved its way through the first films of many now established and outstanding British film and television makers, actors and professionals as well as many other important works that have stood the test of time.
In the very short term, what I look forward to now is hopefully soon moving into pre-production with one of my last UK pictures 10 Seconds, to be directed by Kolton Lee (Freestyle, Cherps) and written by the now Nigeria based Bafta winner Tunde Babalola. Talking of Nigeria it is there that I will be looking to make another of my next projects, a major disaster movie and where I plan to extend the Screen Nation brand onto the continent with the creation of Screen Nation Africa. I can’t wait!
With more and more exciting collaborations happening in the black British filmmaking scene, continued positive developments in urban television, both online and on satellite, plus the fantastic opportunities that digital distribution brings for black/urban media content, I hope when I’m next asked about my next last picture that I can confidently say that I’m still as good as the one I made last.
(c) Charles Thompson, July 2011.
The opinions published in the BUFF blog are a copyright of Buff Enterprises Ltd © MMXI all rights reserved – and is available to view on a monthly basis via Facebook, Twitter, Blogger, WordPress and Linkedin, plus other selected blogs and web pages. For more information about this year’s opening UK premiere – ‘David is Dying’ – visit www.britishurbanfilmfestival.co.uk

Online, on-air and in person, this is BUFF. And so said the voice of BUFF which greeted the masses of online followers with the May 31 announcement of this year’s opening feature. And though the dulcet tones of Ewan Allinson and DJ Elayne Smith will continue to form a cornerstone of the BUFF movement, things are going to be a little bit different round here. From September, the 2011 British Urban Film Festival will be coming at ya with a whole new look which means, finally, that the buffest film event of the year will be upon us. New films, New venue, same old BUFF – continuing to deliver the UK’s buffest films as it has been since 2005. And as it was back then – from ITV’s headquarters on the South Bank, to this year, from the TUC’s headquarters in Tottenham Court Road – the latest edition of the annual showpiece continues its tradition of reaching out to new audiences, year in, year out.

As part of last year’s 5^th anniversary festivities, BUFF announced that it was going on tour, taking the festival to towns and cities across the UK. And as we enter the next 5 years, globalisation beckons. With British actors, directors and exhibitors making their mark in North America, the Caribbean, West Africa, and Central Europe, BUFF will be there at the heart of the action, reaching out to welcome more new audiences all the time.  

This month’s edition of the BUFF Blog takes us back to last summer when the festival was contacted by Daniel Buckley, the curator of ‘C the Film’, part of the Edinburgh Festival Fringe – the world’s largest arts festival. First established in 1946 as an alternative to the Edinburgh International Festival, the Fringe takes place in Scotland’s capital for four weeks every August.

The Fringe mostly attracts events from the performing arts, particularly theatre and comedy (which has seen substantial growth in recent years) although dance and music also figure significantly. The role of the Fringe Society (the organisers) is to facilitate the festival, concentrating mainly on the challenging logistics of organising such a large event. Ultimately, the society exists to honour the wishes of the participants, to promote them collectively to the public. Early administrators of the society were adamant that it did not come together so that groups could be invited, or in some way be artistically vetted. What was performed and how it was done was left entirely to each Fringe group. This approach is now commonly referred to as an unjuried festival, an open access arts festival or a fringe festival.

An exchange of emails soon transpired between BUFF and **C venues, a package was despatched north of the border and soon enough on August the 4^th 2010, those that were fortunate enough to have attended the Fringe would have come across a selection of short films from the BUFF 2009 archive. And as this year’s Edinburgh Festival Fringe looms near, it seems as good a time as any to hear from Daniel about how it all went ‘up north’ – plus his take on the film industry. A reminder that the BUFF Blog is out monthly and the call for submissions continues until 5pm, July 25. Full details about our roster throughout the year can be found via www.twitter.com/buffenterprises

The film industry has, and I suspect always, will be a difficult beast. It at once screams big business – the establishment, Hollywood, obscene amounts of money – yet it is also traditionally considered to be politically very liberal; consider films like Milk and M.A.S.H. As well as this, film is considered, and has been since the ‘70s, an art form, just as worthy of study as poetry or painting.

Yet, even with this political and artistic diversity, genres are all too easily pigeonholed and formulaic, which can damage genres massively. It might be fair to say that this is becoming the case with ‘urban’ film as well. Yet urban life is nebulous, fluctuating from one extreme to the next. The British Urban Film Festival understands that it is this nebulosity that makesBritain’s urban sprawl such an exciting subject for film.

I first came into contact with BUFF while curating the C the Film festival at the Edinburgh Festival Fringe in 2010 where we did special showcase days of other film festivals from around the country. I remember thinking I knew exactly what to expect when I sat down to watch the DVD Emmanuel had submitted, and as such I was surprised to see exactly what I had been given.

BUFF is unique in its specialist interest in urban filmmaking, and the films we showcased on their behalf took in everything from straight-up drama to social satire to science fiction, all the while never losing sight of the real world and its’ issues that the stories they tell sprang from. Having been snowed under with short films in the preceding weeks, I was also pleased to see a brave predilection amongst BUFF’s selection for longer form short films, a rarity for even the most accomplished amateur filmmaker. These films added a new, rawer dimension to the films on offer at C the Film, which already counted Cornish dance and Scandinavian comedy amongst its offerings.

I’ll try not to dwell for too long on what has gone before, but the best way to understand BUFF is through some of the films on show at Edinburgh last year.

Virus (dir. Kole Onile-ere), was a surprisingly abstract sci-fi short about a dystopian future, expertly executed with a slow-burning sinister fear at its heart. Ominous Thoughts (dir. Tyrone De Grosvenor) was another sci-fi offering that had a terrifying air of inevitability as the characters hurtle towards a future that they cannot control. Colour Blind (dir. Amanda Baker), one of the funniest films on show, took a look at race relations with some very clever use of colour to visually portray racial stereotyping. The wittily titled Much Ado About a Minor Ting (dir. Jesse Lawrence) while more conventional on the surface, mixed edgy humour with heart-stopping action. Fresh Off da Boat (dir. Femi Oyeniran), one of the most accomplished films on show, managed to make the story of a young immigrant boy funny, heart-warming and sad, while Brothers (dir. Diane Musafiri) not only examined issues surrounding single parenthood, but also the emotional pain that can surround them. Still Life (dir. Nelson Sivalingham) was a refreshing change of pace – a modern Asian ghost story that addressed the delicate subject of gang violence.   

And as I think this little playbill shows, BUFF may well limit itself to ‘urban’ films, but there is literally no limit as to what ‘urban’ can mean. Urban can be sad. Urban can be funny. Urban can be exciting. Urban can be weird. Urban can be whatever it damn well wishes to be, and no one should try to tell it otherwise.

Daniel Buckley

Curator, C the Film

(c) June 2011

www.cthefilm.com

 **C venues has a festival team of 180 people and is based in northwest London excluding July and August, when it is based at Adam House, Chambers Street, Edinburgh.

The opinions published in the BUFF blog are a copyright of Buff Enterprises Ltd © MMXI all rights reserved – and is available to view on a monthly basis via Facebook, Twitter, Myspace, Hi5, Ning, Blogger, WordPress, Linkedin, plus other selected blogs and web pages. For more information about this year’s opening feature – ‘David is Dying’ – visit www.britishurbanfilmfestival.co.uk

Organisers of the British Urban Film Festival have confirmed that ‘David is Dying’, written and directed by Stephen Lloyd Jackson, will be making its’ UK premiere at the annual showpiece later this summer. It marks the acting debut of Lonyo Engele (familiar to fans of UK Garage music) who plays the male lead alongside fellow debutante Isaura Barbe-Brown.

Billed as a bittersweet tale of love and lust, the film tells the story of David Brown, a confused and tormented man, haunted by his past, in which, as a boy he fell in love with his French-Caribbean mother - a glamorous courtesan who entertained men for money. Her death heralds a downward spiral in David’s adult life as he attempts to settle down with his partner (Carla).  Early reviews for the film are hailing it as “raw, unadulterated mental torture both beautifully told and shot”.

The British Urban Film Festival (aka BUFF) is 6 years old and continues to grow with this year’s event taking place in London’s West End (TBA). The full line-up of festival selections will be announced towards the end of July when the deadline closes for producers and directors wishing to submit films for due consideration. Festival director Emmanuel Anyiam-Osigwe has also confirmed that Lonyo Engele, Isaura Barbe-Brown and Stephen Lloyd Jackson will feature in a live question and answer session on the opening night of the 3-day festival later this September. Seats are free to book by phone and available on a first come, first served basis from August the 1^st onwards.

Pictures courtesy of Alex Winn.

From a spunky heroine to ‘the’ flashback, from ‘Babymother’ to ‘Sus’, Anjela Lauren Smith has graced British cinema for the best part of 2 decades and continues to adorn the big screen and the small screen. Behind the scenes, her versatility and passion for the industry shows no sign of abating either. The latest string to her bow was her recent appointment to the board of members at Buff Enterprises. We’re delighted that Anjela has accepted this position at a time where British actors and actresses are very much the flavour of the month both at home and abroad. The likes of Aml Ameen, Noel Clarke and Chiwetel Ejiofor are sprinkling some of their golddust to other disciplines with the three in question turning out to be pretty decent film directors aswell. And to paraphrase that often trotted out cliché, the world is indeed anyone’s oyster. For now though, Anjela’s focus is on this month’s edition of the BUFF blog – the blog written by those ‘in the know’…

HOW DID IT ALL START OFF?
My journey began at a very young age… I always had a hidden desire to perform when I was a child. There weren’t many of the drama workshops and classes that are so easily accessible to children now. My performing was limited to dance and singing shows at school. My love of film stems from the many VHS’s (that’s what we had back in the day) that my dad owned of classic films and musicals; I would spend school holidays watching films over and over again.

In my teenage years, I fell by chance into being a fashion model – it was either that or go to university at the time. I chose to give modelling a try as I thought it would be a good experience, it’s as simple as that! Through modelling I then got to utilise my dance skills working on music videos, touring and travelling frequently – all the stuff my dreams were made of. Music videos were different back then; it was all about a performance, usually some narrative and not just shake your booty. I am very proud of those days – I met a lot of interesting, talented, creative people and for me it wasn’t about being famed for my looks or being the best dancer, it was a time in the 90′s that people were expressing themselves as they saw creatively fit and continue to do so. Many of the people that I worked with, partied with etc. are now my peers in the industry and I’m very proud of them… it was all about life experience – then and now. Experience in front of a camera helped me to learn about how any production works. I also worked in events management during that time… I will always give something a try, or challenge myself.

In my late teens – I made the decision to move away from fashion and music to explore my desire to act; I joined a youth theatre group (Second Wave) at the Albany Theatre in Deptford. I spent my days working as a booker in a character agency and as an assistant to a casting director, where I gained a lot of valuable insight into the business side of the film industry. I am a big fan of ‘learn at every opportunity’… the learning never stops whatever age or stage you’re at in life. I also took classes that were Stanislavski based for 3 years at The City Literary Institute and Oval House Theatre – any drama workshop that could help me grow and build my confidence as an actor. I look at those days fondly, as I was very hungry to learn. It wasn’t in a pretentious way… I worked very hard to prove myself at all junctures, as it is easy to fall prey to the assumption that because you were a former model it made it somehow made it easier. You spend years trying to prove that it didn’t just fall off a tree! (No chip on the shoulder intended!)

My first film was very low budget and shot in and around Notting Hill – In ‘Respect’, I played a community activist called ‘Angela’, it was through a friend that I found out about the audition and pushed myself forward to get seen, as I didn’t have an agent at the time. I managed to get my Equity card and a showreel together, which led me to meet my lovely agent Elaine Murphy. Within 3 months I was auditioning for the lead in a feature film, ‘Babymother’… 10 weeks and 9 screen tests later, I was cast in the role of ‘Anita’. Playing Anita was a role that I had to fight for; at least 500 actresses, singers and dancers had auditioned. It was a year of beginnings and endings, as I gave birth to my son 7 months before being offered the role and my dad passed away – so spiritually I felt connected to the role in terms of being a young mother and also the loss of a parent. Both my agent Elaine Murphy and Michael Keane have always had belief in me which really helped me as a young actress, who had a lot to learn!

WHAT ARE YOU DOING AT THE MOMENT?

I’ve just been asked to be on the BUFF board of members which is cool! Thanks BUFF! I attended BUFF for the first time last year, as ‘SUS’ was launching the festival; SUS is a feature film starring Clint Dyer, Rafe Spall and Ralph Brown. It is a very powerful independent film that was shot over 2 weeks and has had a really amazing response. SUS has screened at many festivals worldwide, Clint has won many awards and it secured a cinematic release in the UK last year – all very positive and BUFF have been supporters of the film also.

I am also working with a youth education company who do motivational work with young people – I’ve just started facilitating with them. Whatever help I can give to inspire young people on their paths, I will always do when I have the time.

Acting wise – at the end of last year, I filmed a few episodes of a BBC teen drama – ‘The Cut’ – which was a lot of fun, albeit my character was part of a very sad storyline. THE CUT gave me the chance to play a character who was very vulnerable as ‘Carly’ is an agoraphobic. I’m also amongst the cast in ‘The Shadow Line’, a noir conspiracy thriller starring Chiwetel Ejiofor, Christopher Eccleston, Rafe Spall, Lesley Sharp and many others. The first episode aired on BBC 2 on Thursday 5th May @ 9pm… It’s very stylish, with complex characters. I had a very enjoyable time filming and Hugo Blick (writer & director) is sheer brilliance. Even if I didn’t have a moment in the series, it would be top of my list to watch as some of my favourite actors/actresses, whose work I’ve seen and have been inspired by, are in the episodes. It is also a genre that I love, so I’ll be watching the whole series (7 episodes).

I’m also writing – which has been a passion for over 10 years now – more to come on this later! It started with poetry and now I have a few things that I would like to develop: acting is my first love, but all across the board in the industry many performers are writing, producing, directing. It does seem like a natural evolution. There is no rush and by no means am I a seasoned writer, but I truly believe that we all have a few stories inside that we could tell…

WHAT IS YOUR INVOLVEMENT WITH THE FILM ‘SUS’?

I am ‘the’ flashback! (laughs) Without spoiling the film for those who haven’t seen it yet, I play the allegedly murdered wife of Clint’s character, Leon Delroy. I have been talking people’s’ ears off about this film since last year – please note it isn’t self promo. I am always grateful for every role that I am offered regardless of whether it is a lead or a supporting role, because I always feel very lucky to be able to do what I love – which is to play as many interesting characters as I can. SUS has historical relevance, it is a period piece. It’s a film that is shocking, moving and educational – a portrayal of one man’s torment during a police interrogation, a victim of SUS. It is based on a true story, written by Barrie Keefe.

Playing ‘Georgie’ was purely a visual performance – but for me, that Clint and Robert Heath (Director) would want to include me in such an inspirational and important piece, I am eternally grateful! I know it sounds gushy, but truly I am happy that I still have interesting work after 21 years of being in entertainment in some shape or form. I have worked with Clint on a few occasions, he is a very special human being and multi-talented - there, gush again! Clint has been a huge support to me and many others in the industry, which I value.

SUS will be screened on British television some time soon; it is also out on DVD so its’ journey continues.

WHAT DOES BUFF MEAN TO YOU?

BUFF represents a refreshing forum for the seen and unseen film makers in the UK & worldwide. It is a celebration of the passion, diversity and forward thinking in film. As a free to attend festival, it is inclusive and gives the audience a chance to see some unique styles. Many of the films are made on low budgets and most films make their premieres at the festival. BUFF has energy to it and it isn’t ego driven.

BUFF is provocative, outspoken and supportive – hold on am I talking about BUFF, or the director of BUFF?! Joke aside, the festival is growing and is definitely one to put in your diary.

At a time when budgets are being slashed and arts funding is very selective, festivals like BUFF keep the line of hope there for all of us. There are a few surprises in store for this year’s festival, so keep an eye out on the BUFF website.

WHAT ADVICE WOULD YOU GIVE TO BUDDING FILM MAKERS AND ACTORS?

Several come to mind, hard work and belief. Film making is a long process, a united effort and some may say a healthy risk as you don’t know what the audience’s’ perception will be when you are creating… that is why belief in your talent, yourself and others – plus a thick skin – are needed. Hard work is never a negative thing – but for actors and film makers, they make something look effortless and natural which requires energy. Most of all enjoy, enjoy, and enjoy it!

The social networks have definitely had an impact on the way some films are marketed now in addition to the profiling of actors; some prefer a more subversive approach but I feel it’s whatever works for you. Find like-minded people (I don’t like the word ‘network’). Triforce Events (i.e. actors Fraser Ayres, Jimmy Akingbola et al.) are a good example of this – I have been to some great screenings, readings and nights out that they have put on – everyone is friendly, supportive, productive – and that organically produces results. I also attended the Ameen Dream Entertainment launch at BAFTA recently, which was both very uplifting and progressive.

Every opportunity is an opportunity – gain whatever positivity you can from it.

WHICH ARE YOUR FAVOURITE FILMS?

Quite a few and of those I include the following: ‘The Imitation Of Life’, ‘The Godfather’, ‘Leon’, ‘Malcolm X’, ‘La Vita E Bella’ (Life is Beautiful), ‘The Knickerman’ (A short by Sonja Phillips), ‘Dirty Pretty Things’, ‘City Of God’, ‘American Gangster’ and ‘Dodgeball’ – I love comedy   I still have a bunch of DVDs that need to be watched!

FAVOURITE ACTORS/ACTRESSES?

(in no particular order): Samuel L Jackson, Jodie Foster, Angela Bassett, Gary Oldman, Robert De Niro, Helen Mirren, Ray Winstone, Don Cheadle, Kerry Washington, Tom Hardy, Denzel Washington, Samantha Morton… This list could be very long so I’ll stop. Acting requires guts, so I respect all actors!

FINAL WORDS?

‘If life gives you lemons… Make lemonade’ (Norman Vincent Peale).

www.anjelalaurensmith.com