FAULT Magazine Attends Full Moon Fest: Photo Gallery

 

Under the magic of a waning late-summer moon, the sixth-annual Full Moon Festival found its rhythm this weekend on the north shore of New York’s Governors Island. A lineup of electronic and hip-hop heavyweights from SBTRKT and Marcus Marr to Santigold and Pusha T.

And in our era where a sense of style define your social status, the crowd was dotted with 20-somethings who looked fresh off the set of a sepia-toned lookbook. Through wet heat and a wetter rain, the fashion at Full Moon took street style to its limits and left the rest of us with some residual closet envy.

 

Photography: Nate Cover

Rudimental launch their Bench AW16 campaign – exclusive interview

As part of their ongoing #LoveMyHood campaign, iconic menswear brand Bench have partnered with the equally iconic Hackney lads Rudimental, as their new brand ambassadors. We had a brief chat about the AW16 collection …and some other random things.

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FAULT Magazine: What do you think you’ve learned about the fashion world whilst partnering with Bench?

Piers: I learned that sometimes I can fit into a 34, when I was always a 36…

Kesi: I learned about Piers’ love for shirts. I think he has now discovered a love for shirts.

Piers: Yes. I learned about my love for shirts too.

Locksmith: What I’ve learned… Is that fashion and music actually go hand in hand.

FAULT: How so?

Locksmith: Well if you think about it… In the past… I’ve been asked questions like this… and I’ve been able to answer [everyone laughs]

Amir: …they are both forms of expression. We are the masters of one form, so we thought we’d collaborate with the masters of the other.

DJ Locksmith: Seriously, fashion and music do go hand in hand… Bench came to us kind of with a spiel and we were very wary of that, because we’re not the face of our music. We let the music do the talking. When you get approached by a clothing company, you often think ‘they’re going to want us at the front’ …we still like doing our shopping without being noticed, but Bench came to us from another approach. They were kind of sold by our music and the reach of our music, so because of the way they sold it to us, or approached us, we were like, ‘you know what? Fashion and music do go hand in hand’ we were able to target their fans and they were able to target the fans that were similar to their fans and go forward.

Another thing I liked was they said that they didn’t just want to do a normal photoshoot with us wearing their big logo, they wanted to do something where they find out about Rudimental… a 24hr video shoot if you like, and we did that with them in Central Park, New York, where they got to come behind the scenes of a gig we were doing on Summer Stage. They got to see us getting ready and they found out about our individual characters, fashion sense and fashion styles. It was a really cool concept.

FAULT: How do you describe your individual style, because you’re quite diverse? – do you know that you are every colour emoji? That is so cool. You should use that somehow…

Piers: Nobody is yellow though.

Kesi: I am a bit…

DJ Locksmith: That is true… We should do a DJ act, in front of loads of people and just wear emoji hats, because it represents – That’s a sick idea! – And call it EMOJI. If you guys don’t do it, I’ll get some other guys to do it. That’s sick!

FAULT: Back to your individual styles…

DJ Locksmith: Me and Kesi and more T-shirt and shirt guys, Amir is more the smart/swagger guy, then Piers whose into his shirts… Which we all found out along the way. These are all things we never really paid attention to. We just knew what we liked and we cracked on with it.

Amir: It’s beautiful that they caught us in our reality. That’s basically how that whole photoshoot happened. They followed us with their cameras and got a lot of nice, natural shots with us.

FAULT: In a world where A$AP Rocky and Rihanna are fronting Dior, which is great too, this collaboration feels very organic and home grown…

Amir: I always thought of Bench as Brit pop, I always thought of it as proper British culture, so yes, it was a great match.

FAULT: Given what you said earlier about privacy and being sceptical at first, after this experience do you see yourselves ever fronting a high fashion campaign?

DJ Locksmith: Damn! If the money is right, girl, I’m down!  [laughs]

Kesi: If it somehow worked with Rudimental and what Rudimental are about as a movement, why not? It all depends on the ethos. We can’t change ourselves to fit something else.

FAULT: The AW16 was unveiled on Snapchat, which is quite a cool and current idea…

DJ Locksmith: See! Snapchat. We’re down.

FAULT: Do you manage your own social media or does it belong to your management?

[In Unison]: It’s ours!

Amir: Some of us are better at it than others.

Piers: I did a Snapchat once.

FAULT: Well done. What was that one Snapchat?

Piers: It was me half naked…

You can read more about the Rudimental X Bench campaign here, and can follow the boys on Facebook, Twitter and Instagram.

 

Words Trina John-Charles

Jonathan Holmes discusses working on Stephen Spielberg’s BFG with FAULT Magazine

 

Veteran actor Jonathan Holmes plays a ferocious giant called Childchewer in Disney’s The BFG, the cinematic brainchild of figurative giants Roald Dahl and Stephen Spielberg.  In this interview, Holmes tells of his time as a giant among men.

 

FAULT: In playing a character from such a beloved book, did you feel any extra pressure or responsibility?

Jonathan: I think we all felt a huge sense of responsibility. But knowing we were in the hands of such an extraordinary creative team certainly gave us confidence.

 

FAULT: In The BFG, how were you guys able to shoot the interactions between giants and regular-sized people without relying on CGI characters?

Jonathan: Many of the scenes had to be shot in three different scales. And consequently shot three times. Giant scale, BFG scale (he’s half the size of the other giants), and human scale. So we would have various balls, poles, etc. to make sure our eyelines were correct. It was quite the operation!

 

FAULT: How much makeup did it take to turn you into such a convincing giant? Or were the effects added in editing?

Jonathan: All giants were shot using ‘performance capture’ technology. We had to wear tight suits with dots on them and dots all over our faces that picked up every nuance of our performance. The animators then animated to that.

FAULT: How did you approach playing such an unconventional character?

Jonathan: We were very fortunate to have a month or so of rehearsal to get used to the technology and to create these characters. Terry Notary, one of the pioneers of performance capture from the acting perspective, helped hugely in finding the physicality of these creatures. We spent a good deal of time improvising.

 

FAULT: How did your experience working with Steven Spielberg differ from your experiences working with other directors?

Jonathan: The main difference was the technology we used. Because the cameras would only pick up those of us who were ‘dotted’, Steven could direct us whilst actually being physically in the scene. Which, as you can imagine, was a huge thrill for all of us.

 

FAULT: What makes your character happy (besides eating children)?

Jonathan: A good hair day!

 

FAULT: Is there any food in the real world that you think tastes worse than a snozzcumber?

Jonathan: Overcooked vegetables. And marzipan.

 

FAULT: Is there anything else we can look forward to seeing you in?

Jonathan: I’m working on an animation series and a video game – but sadly I’m not able to tell you much more…

 

FAULT: What is your FAULT?

Jonathan: I have a ten year old daughter who would tell you most things are my FAULT.

 

Words: Cody Fitzpatrick

The Chainsmokers Exclusive Fault Playlist – “When You Hook Up With Your Ex”

The Chainsmokers first burst onto the scene with ‘#SELFIE’ in 2014. Since then, their sound has matured and they’ve cemented their place in the EDM scene, with their tracks ‘Roses’ and ‘Don’t Let Me Down’ welcoming huge chart success both sides of the pond.

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Start your weekend right with this exclusive playlist from the boys themselves. The theme?… When You Hook Up With Your EX!

“Hooking up with your ex is always a bad idea. These songs are a reminder of that.”

The Chainsmokers ft. Halsey – Closer

XYLO – L.A. Love Song (Win & Woo Remix)

Lost Kings – Bad

Alan Walker – Faded (Young Bombs Remix)

Jocelyn Alice – Feels Right

The Him – Don’t Leave Without Me

Martin Garrix ft. Bebe Rexha – In The Name of Love

Violet Days – Your Girl

AlunaGeorge – I’m In Control

Flume – Never Be Like You

 

The Chainsmokers new track “Closer” features Halsey and is available now!

FAULT meets The Veils ahead of their new album release

Led by the mysterious Finn Andrews, The Veils are one of the most sacrilegious bands in alternative rock. The group’s haunting upcoming album, Total Depravity, was co-produced by American artist El-P from Run the Jewels.

Andrews, in his interview with FAULT, gives insight into his bizarre life as a second-generation performer.

 

FAULT: What was it like growing up with a musical father [rock star Barry Andrews]?

Finn: The weirdest aspect was just being really young and not knowing who all these malnourished weirdos hanging out in my house were. And then, as I got older, that became quite cool. But when I was like eight, I didn’t really understand what was going on. These people just seemed like they all needed to have a bath and relax a bit or something. They all seemed very uptight and freaked-out and strange to me. But I sort of pieced it together as I got older. When I was old enough to actually be writing songs myself, my relationship with my dad changed a lot, I guess, because could always compare notes on and play each other new songs.

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FAULT: Did you ever meet David Bowie?

Finn: Yes, but I was very, very small. He looked after me a few times, but I don’t remember it at all.

 

FAULT: What factors went into your decision leave The Veils and do a solo tour, way back a decade ago, and then what made you decide to re-form the band?

Finn: It was never really a band with the first record. It was people I sort of found within the first few weeks of getting to London to record those songs with. It was put across like a band, but it certainly never felt like one. We didn’t know each other very well, and it was kind of a solo record, really, under a band name. So then, when it all just kind of imploded, I think those shows had been booked already, so I just went and did them by myself on my way back to New Zealand. That was a depressing time, really. I don’t like traveling, and I don’t like touring on my own. It’s not really as fun. Your sort of in your own company all the time. I like having a gang around me. Both onstage and off.

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FAULT: I saw that you wrote an orchestral piece to commemorate World War I, but I couldn’t find a whole lot of information about it. What can you tell us about that?

Finn: That was really interesting. It was just for a one-off performance in Passchendaele, in Belgium. I believe, in the beginning of last year (I might have that wrong.), they asked a Canadian artist and an Australian artist and an English artist—about five or six people—each to compose a 20-minute orchestral piece for it. It wasn’t recorded; we just performed it once, on the site of the battle there. Yeah, it was very strange, I think I ate something weird the night before, and I was incredibly nervous as well. We were staying in a hotel next to the old battleground, overlooking this huge landscape. I was up all night—half-sleeping, half-not—having these weird dreams with all these millions of little eyes just like looking at me out of the ground. And then you know when you sort of sleep, and then you don’t feel like you’ve slept at all? It was sort of one of those. And then I woke up and had to do this performance, so I was a wreck that day, probably more so than any other show we’ve done. But it was a very nice thing to be able to do. It was a a very interesting, different experience for me.

 

FAULT: What was the deal with you guys living out of a garage in OKC for a period of time?

Finn: That was because we had a manager—this guy who managed The Flaming Lips—and his bright idea was that we relocate to Oklahoma for six months, or however long it was. We lived in Oklahoma, and then we had a little van that we drove to the coasts and back. It seems okay except, like, it’s a fuckin’ long drive from New York to Oklahoma. But it was great. I got a lot of songs out of that period of time—certainly “King of Chrome” off the new record. It was really interesting and sort of foreign to us, that part of the world. It was right in the middle of, like, peak W. Bush, as well, so it was an interesting time to be staying on the Bible Belt, you know?

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FAULT: Why did choose to record Total Depravity in three different countries and four different cities?

Finn: It really wasn’t a choice. It was just by virtue of having El-P involved, and Adam [Greenspan] and Dean Hurley as well. And also having no money really to pay anyone. It was a case of me going around with a bag full of hard drives and, you know, stealing time from people whenever I could. I believe we and Run the Jewels were touring around the same time, so it was whenever we both had days off. You know, that’s how ended up in Porto; it was just because everybody was there and had a few days off at the same time. Yeah, it was quite stressful, mostly because I just kept thinking I was going to lose the entire record in an airport or something. It was a strange way to make a record, but it was possible for us to do it like that because we had the luxury of time.

 

FAULT: Finally – What is your FAULT?

Finn: That’s like in a job interview, isn’t it? What are the ones you’re not meant to say, like perfectionist and stuff? There are many to choose from, certainly … I don’t go on holidays. I need to occasionally do that. We weren’t really a family that had holidays growing up. I think it was because we were moving around such a lot anyway. We’ve got lots of Europeans in band, so they’re constantly going on holiday. They like to live a more relaxed life. So I probably need to learn how to relax a little more.

 

The Veils release new album ‘TOTAL DEPRAVITY’ on August 26th via Nettwerk Records.  

Words Cody Fitzpatrick

Photography Thomas Wood

Preview: DNCE On the Music Cover of FAULT Issue 24

 

Joe Jonas’ DNCE has been topping the UK charts for 3 weeks straight, with their overly catchy tune Cake By The Ocean. After giving it a try solo, Jonas ultimately decided that he’s more comfortable in a group rather than on his own. And he couldn’t have made a better call. With Cake By The Ocean blasting from every corner you could possibly imagine, the band are currently touring Europe and are expected to release an album late in the summer. It’s safe to say that Joe has broken the Jonas Brothers mold, much like his younger sibling Nick who was FAULT 21’s cover star. In FAULT Issue 24’s Music Cover shoot, we catch up with Joe here’s his take on life outside of The Jonas Brothers, personal tracks and growing up in the public eye.

 

 

When you first got the band together, what was your initial aim? Where did you want it to go?

Originally, it was just about creating the music. At first, we had a bit of a writer’s block and we couldn’t quite figure out the vibe that we wanted. And finally, we worked with new producers from Sweden and kind of just broke the mold. It all happened very quickly and we’re really thrilled with the reaction and how things have happened so far.

 

How important do you think chemistry is within a band and do you think you have it?

Chemistry is very important. You’re sharing every moment with that person and you want to be able to feel comfortable with them, wherever you go. Sometimes you’re traveling internationally, you’re sharing a tour bus. Not to mention the overall vibe about performing on stage. You want to feel comfortable. I’m very lucky to say we get along.

 

You must have a lot of unreleased tracks under your belt that you can’t wait to put out. Do you have one in particular that you’re eager to release?

I’d say that Cake By The Ocean has been one of my favourites. There’s also a song called Almost that I wrote with our producer, Nolan, and a few other writers in LA. Almost is a personal song and I feel like it’s really fun to share those with the world. When you can really pull from personal experience and find a way to showcase it in a relatable way, it’s always a rewarding feeling. If you’re going through stuff and have any sort of creative outlet, you might as well put it into good use.

 

You’ve also had a solo project beforehand. Pros and Cons to working solo as opposed to working in a group?

There are a lot of similarities. There are obviously things that you do when you’re traveling and touring with your brothers that are nice, because you’ve got your family with you at all times. And then, there’s also the element of playing with friends. It’s a fun vibe. But I do prefer playing in a group. There’s something special about our band.

 

Do you have to deal with Jonas Brothers comparisons anymore?

There are sometimes some comparisons here and there, but I don’t mind. We’re also really supportive of each other’s individual careers, so it makes it all a lot easier.

 

Since you’ve been in the public eye your entire life, what’s your personal take on fame?

I think fame is something that kind of comes with what you do. Some people handle it differently. I grew up around it, so it hasn’t always been an easy thing for me, but you learn to adjust and adapt to how you’re comfortable. Ultimately, there are things that you’re gonna be cool with and things that are gonna be tough to get over. But at the end of the day, if you remember where you come from and how it can all go away so easily, it makes it a little bit easier to handle.

 

What’s your FAULT?

I can be clumsy on stage. There are definitely a few shows where I’ve fallen off. There are a couple of Youtube videos to be watched.

 

FAULT MAGAZINE ISSUE 24 – THE DISTINCTION ISSUE – IS AVAILABLE FOR *PRE ORDER* NOW

 *FAULT MAGAZINE IS AVAILABLE FOR DELIVERY WORLDWIDE*

…Or get your copy digitally via Zinio! 1 year’s subscription = just £14.40

 

 

 

 

ALLIE X WILL MAKE YOUR HEAD SPIN IN THIS KALEIDOSCOPIC SHOOT EXCLUSIVELY FOR FAULT ONLINE

Earlier this month, Allie X performed her catchy synthpop anthems at British Summer Time in London’s Hyde Park. But to Allie X, her music is about more than that. She sees it as an attempt to reunite with her Shadow, or the part of herself that she feels she lost during her childhood, and experience what she calls #FEELINGX.

 

Allie X spoke with us about her fans, the ups and downs of being a performer, and her ongoing quest to become whole again.

 

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Dress: David Ferreira / Sunglasses: Quay Australia / Shoes: Underground

FAULT: Why do you go by the name Allie X?

AX: X represents the unknown, and it represents the identity that I’ve taken on a journey to become my full self. So Allie X is incomplete, and if I were to become whole again, then I would be just Allie.

 

FAULT: Are you always Allie X, or only when you’re making music?

AX: Always.

Top: Helter / Skirt: Helter / Sunglasses: Quay Australia

Top: Helter / Skirt: Helter / Sunglasses: Quay Australia

FAULT: Was losing your Shadow one singular event, or did it happen over time?

AX: That’s a question that I’m trying to answer myself. I’m not really sure. I think things generally tend to happen over time; it tends to be more of an evolution. But from what I’ve been told, the change happens very quickly—like almost overnight. Looking back, I don’t really know. That’s why it’s easier to write it in a comic form. Because when it becomes fiction, it’s looser with how you remember it.

 

FAULT: Do you ever achieve #FEELINGX as an adult?

AX: Yes, I do. #FEELINGX can be many different things. For me, the thing I can compare it to is the feeling you get when you’re spinning and making yourself dizzy, and then you fall to the floor and everything around you keeps moving. That’s the best analogy for #FEELINGX.

Top: Helter / Skirt: Helter / Sunglasses: Quay Australia

Top: Helter / Skirt: Helter / Sunglasses: Quay Australia

FAULT: Which is the more rewarding experience: being in the studio, or performing onstage?

AX: It’s kind of hard to decide. Each has incredibly gratifying moments—like if you’re in the studio and just out-of-nowhere come up with a great hook or melody. It’s a magic feeling. And then I could say the same kind of feeling comes when you are onstage, and you walk out and every single person in the audience knows every word to your song that you made. You get this crazy rush.

But then both also have downsides. Like in the studio, you can feel like the scum of the earth sometimes, torturing yourself by questioning why you ever even got into the business, and why you can’t write one damn good song. And then when you’re on the road touring, there’s a lot of brutal things that go along with that as well. So I guess it would depend on the day. They both have their good points and their bad points.

 

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Dress: Rokit / Second dress: Preen / Sunglasses: Quay Australia

 

FAULT: Was British Summer Time your first experience playing in the U.K.?

AX: No, I had one show in London, at Birthdays in Dalston. And then on this trip I came back and did British Summer Time and Oslo [Hackney].

 

FAULT: Are there any ways in which British fans are different from North American fans?

AX: British people, generally, are very dry with their humour and definitely more witty than Americans (laughs). I was raised in a British family, so I’m used to that, and it actually feels pretty normal to me. I haven’t toured a ton compared to artists who tour year-round, but I do notice that I’ve had incredible enthusiasm from the U.K. audiences. I don’t know if that’s typical or not, but I did notice that.

 

FAULT: What is body ecology?

AX: That’s the diet that I’ve been following for over three years now, and it’s basically that you don’t eat any form of sugar. So I don’t eat beets, or potatoes, or fruits. And obviously no honey, maple syrup, refined sugar cane, whatever. And then there’s no gluten, no dairy—a stress on probiotic foods. It basically just restores your inner ecology.

Dress: Jane Allcock / Sunglasses: Ray Ban / Shoes: Attribute

Dress: Jane Allcock / Sunglasses: Ray Ban / Shoes: Attribute

FAULT: And you do transcendental meditation as well, right?

AX: You know what? I’m going to be completely honest and say that I was doing it for a period of time, and then I stopped. I just wasn’t… uh, Transcending (laughs), I guess. I struggle with anxiety, and it was an effort to deal with that, but it wasn’t really doing it for me. That’s not something I’m proud of, but that’s the truth. I stopped doing it, but maybe I’ll try again in the future. I think I still need to find a form of mindfulness and meditation that really works for me. The closest I get is, it sounds lame but, yoga.

 

FAULT: What’s nXt for you?

AX: It’s my new album, CollXtion II, which is currently unsolved, but I’ve been posting tracks to get fan feedback and figure out which songs to put on the album. That’s a process that is ongoing.

 

Dress: Jane Allcock / Sunglasses: Ray Ban

Dress: Jane Allcock / Sunglasses: Ray Ban

FAULT: What is your FAULT?

AX: I think my biggest flaw is being a little too motivated by my own interests at all times. I’m a little too self-centered, but I feel like I’m aware of that, and that’s a good starting point.

 

Find Allie X on Facebook, Twitter and Instagram.

 

Words Cody Fitzpatrick

Photography Jack Alexander

Styling A+C:Studio

Hair and Make-Up Sadie Hewlett

Special Thanks The Wheatsheaf Tooting Bec

WE INTERVIEW FEMI OYENIRAN AND NICKY ‘SLIMTING’ WALKER – DIRECTORS OF NEW CRIME THRILLER FILM ‘THE INTENT’

THE INTENT is a gritty, modern, crime thriller set in London’s underbelly. If that doesn’t excite you, all your favourite UK rappers are in it too. This completely independent project, which has already sold out several picture houses across the capital, has not escaped the usual, negative assumptions made about a film like this. To try and dispel some of the negativity before the film’s release, we had a chat with the directors Femi Oyeniran and Nicky ‘SlimTing’ Walker.

 

First, the plot in their own words…
“The film is about an undercover police officer sent to infiltrate a gang of robbers. He develops a close bond with them and he is then torn between his relationship with the robbers and his obligations to the police. But does he have the intent [short pause] …to hand over his new friends.”

FAULT: This is a self-distributed film, that you have chosen to make available for purchase on the day of release (to combat piracy). How lucrative is a project like this, in this format, to yourselves?

Femi Oyeniran: We don’t know yet. It all depends on whether people go and watch it or not. Normally you would go through a distribution company, but this time we aren’t, so the ticket sales go back to us… but then we have to distribute them to our investors. Our investors… some of the cast have shares in the film, some of the crew have shares in the film so… The money technically goes to us, but it doesn’t, if you know what I mean? I want everyone who has worked on the project to get paid so it’s not like, the film makes money, we take all of it and that’s it. That’s not how it works.

FAULT: The storyline is quite intriguing. What gave you the idea to do a film like this?

FO: Nicky and I worked together on a film called ‘It’s A Lot’ which is a comedy/drama. We did that and it was a cool project, but what we wanted to do was do something completely different. We wanted to do an action/thriller. We drew on inspiration from our favourite American films, ‘Belly’, ‘In Too Deep’, ‘Juice’, ‘Paid In Full’, these are like, the classics for us, people watch them time and time again. We wanted to create something like that, but something that was based in London, that took rappers and put them alongside actors to crate a rounded project, so that’s what we did. The thinking was to create something like these American classics that we grew up to love. We love the style of Hype Williams (who directed Belly) he’s a key inspiration in the visual style of this film.

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FAULT: It’s funny, because when you look at hip hop in America and the films that came out of that genre, such as ‘Belly’, ‘Paid In Full’ etc… People always regard them as classics, but when films like that are released over here, people tend to follow a very different narrative. For example ‘The Intent’ had a lot of “We’ve seen this before”, “boring, more guns and drugs”, “make a film about something else” type of comments. Why do you think the same respect isn’t shown?

FO: I was just saying this earlier on today. Here in the UK we love to criticise our own, but if Drake made (CH4’s) ‘Topboy’… Even if Drake made ‘The Intent’, everybody would say, “it’s amazing, it’s amazing…” But familiarity breeds contempt, because we made it and some of the actors are people we see around, who some people may think they know, they just assume.

You’ve never seen a film like this before. I’ve been in all the ‘KiDULTHOOD’s’ etc… And this film is completely different. People say “it’s the same as everything else” what is everything else? How many films have we really had in the UK? We haven’t had that many films. We’ve had about ten films in the past ten years? So people saying they’ve seen it before, I’d like to ask them where?

Where have you seen Krept & Konan, Fekky, Sorcher and DVS, alongside myself Ashley Chin, Sarah Akokhia, Jade Asha, Nicky SlimTing. Where have you seen all those people in a film before? You haven’t.
You don’t know the story.

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FAULT: Films like these are quite important actually, because they document the culture.

FO: Yes! With ‘Kidulthood’ that documented the time then, that’s what the kids were doing then. It captured the culture. If you go back to ‘Babylon’, that film captured what the youth were doing then, so these are really important moments for our culture, because they record what is going on or happening at the time and that’s important, that’s what we need to do.

FAULTS

FAULT: These are a few comments I’ve seen in regards to the trailer. I’d like to give you an opportunity to respond.
1. These types of films are fuelling negative stereotypes…

FO: It’s not, because you haven’t watched the film.

Nicky ‘SlimTing’ Walker: People always say the trailer is like this, or that and the film is completely different. It happens with all films.

FO: This film has a Christian narrative. It’s about undercover police sent to infiltrate a gang of criminals. How many times have we seen that on television. The things people say fuel negative stereotypes, they all still watch anyway.

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FAULT: ‘Scarface’, ‘The Godfather’… Some of the biggest films ever made…

FO: Exactly. You can’t say it’s fuelling negative stereotypes when Nicky and I have made all kinds of different and non related films. Trailers are supposed to tap into things that people are used to, to create a visual reference to be lured in to watch something, so that’s what we’ve done with our trailer, but because you’ve seen the trailer doesn’t mean you’ve seen the film.

NSW: We’ve employed so many young actors and put money in their pockets, taken them off the streets… we’ve nurtured young talent.

FO: Look at us! We are two boys from deprived areas in London, who have gone and made a film of a high quality, put it out in the cinema, put it out on iTunes, all this independently. That has never happened in England before. Why don’t we celebrate that?

FAULT: 2. The film stars Krept & Konan, DVS, Fekky and Scorcher who are all rappers from the UK, but can they act? Or are they only in the film because they are rappers?

FO: Yes. If they couldn’t act they wouldn’t be in the film. Krept and Konan personally approached us and said they were interested in acting and I think they are great in the film, they are actually good. Secondly, there are commercial reasons. Rappers have more commercial value than some of the cast in the film, but besides that, they are good in their roles. If you watch ‘The Intent’ and you think that Krept and Konan are not good in their roles, @ me on Twitter, say why and I’ll give you back your money. We’re not doing things just for the sake of it, everything you see here is organic. We have been talking to Krept & Konan about working together since 2013.
Nicky has been talking to scorcher about working together since 2010. It’s not like we just thought, “oh Krept & Konan are hot let’s put them in” Krept & Konan weren’t megastars when we approached them. They only had one big song.

NSW: Also we are independent. We have to think about how we are going to market  this film. When you have a big Hollywood budget behind you, you can spend millions of pounds on marketing a film with people who are not known in it, because you have the money to get to people. With us, we don’t. We have to be wise with who we cast, we have to use the power of social media etc… Our screenings are sold out. We’re selling out picture houses like a massive studio. Huge films don’t even do that, so for us, our strategy is working. I know for a fact, a lot of people will follow our format.

FO: Watch what happens in the next few years, people are going to copy exactly what we did. You just have to have the balls and follow your dreams and follow your heart and be precise about what you want and that’s what we’ve done.

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FAULT: 3. Why are there no white people in the film?

NSW: There are. There aren’t that many though.

FO: We approached white actors but they declined the roles, or tried to charge ridiculous amounts. It’s nothing deliberate.

NSW: It’s not a black movie, it’s just a movie. We’re not black film makers. Yes, we are black, but we make films for everyone. It’s a film. It’s entertainment. How many black people so you see in ‘Downton Abbey’ anyway? [laughs]

FAULT: Finally, why should we go and see ‘The Intent’?
FO: I think it’s fresh, it’s original, it’s got a great cast. I think it’s got some great performances, I think it’s a cool story, it’s got a nice little twist in it. Again and obviously, we couldn’t reveal that in the trailer, because it wouldn’t be a twist. I also think it’s visually one of the best films to come out of the U.K.

NSW: …and it’s definitely a brilliant film. The best parts of the film are not in the trailer. It’s brilliantly shot. It’s a well put together, well shot and well produced, movie.

‘The Intent’ is out this Friday, 29th July.

Words: Trina John-Charles