shola amoo writer

Shola has 3 jobs listed on their profile. As the movie develops, that perspective broadens and changes because he’s taken from that open, free environment into a much more confined environment. But it also then chimes quite interestingly with the identity crisis that we’re going in now in terms of Brexit, in terms of defining which way we’re gonna go, defining what is a native Brit as opposed to an immigrant. I had a similar dissonance from moving from, let’s say, a racially monochromatic space, to a more diverse space, and [my] landscape shifting. One of the things that holds most people back is finding an entry point. Ahead of the film’s imminent UK release, Huck spoke to Amoo and Adewunmi about their own experiences navigating Black British identity – and how location affects it. He’s another black boy himself, probably of Caribbean descent or something, but that was a massive thing as well. Sign up to get updates on articles, interviews and events. The film follows Femi, a Nigerian immigrant who grows up separate to the more naturalised British-African children of London – due to his time being fostered in the English countryside. Holiday Song: Jim Sclavunos Supports Endangered Venues With Masterpiece. View Shola Amoo’s profile on LinkedIn, the world’s largest professional community. Did either of you find yourself trying to live up to a certain image? But, could ever really pronounce it, and they would butcher it and I would get teased. Writer / director, Shola Amoo alongside the cast of “The Last Tree” at Sundance London (Big Picture Film Club) In aiming to tell such a complex culturally-specific story, director & screenwriter, Shola Amoo has used his own lived experience to draw upon, this brings with it a level of authenticity and nuance which turns what would be a ‘good’ film into a brilliant film. I was always questioning these parameters, and when are you allowed to break them or not – that sort of stuff. Production booster funding supports advanced projects that are entering or already in production, which already have significant project funding or resource attached to them, and which offer important learning opportunities which can be fed back into the StoryFutures Academy programme. Was making The Last Tree your way of finding that? It’s madly surreal and the most beautiful kind of closure to many things. I feel like in the film, the only way he gets to any kind of consensus is by accepting all of the parts of him, particularly his heritage. Femi is trying to chart his place in the world, and bring together these multitudes of identities to find a coalescence – in a way that. Brixton was a central point. Yeah, more anglicised. But yeah, that was a moment that I felt like, ‘Wow…’ I think that’s also a testament to the script and how truthful and honest and authentic it is. And if you had the more anglicised name like a Dean or a Toby, you weren’t really stressed. He's better known for THE LAST TREE, which came out last year, and which I'm looking forward to catching up on. From Nigeria to Lincolnshire then London and back again, writer/ director Shola Amoo’s semi-autobiographical The Last Tree tells the tale of a young boy … Writer-director Shola Amoo and actor Sam Adewunmi are the rising talents behind brilliant London drama ‘The Last Tree’ By Phil de Semlyen Posted: Tuesday September 24 2019 Share Tweet Shola Amoo’s new virtual reality work re-contextualises the notion of violence, by examining it through the lens of state oppression against marginalised and subaltern groups. I’ll be like, ‘Yeah, yeah yeah I heard that track.’. Similarly, the UK needs to delve into its history, the good and the bad, and find out what has lead to this moment in time that we’re at. And if you had the more anglicised name like a Dean or a Toby, you weren’t really stressed. It’s something that I grew up with myself. Kickstart funding supports early stage project R&D from previous StoryFutures Academy training programmes, and the creation of immersive proof of concepts across AR, VR, and MR platforms. Set in the UK, Lincolnshire and London. It was such a bookend for an era of South London and being here in the UK – growing up and all the experiences. Tel: +44 (O) 2O 3287 I53I, For art to exist, for any sort of aesthetic activity or perception to exist, a certain physiological precondition is indispensable: intoxication. Sam Adewunmi is outstanding in British director Shola Amoo's sensitive take on race and identity. Sam: There was, actually. This is an interesting mixture of styles. So yeah, I’ve definitely found myself, like, listening to something that I’m too embarrassed to admit to other people. I think the progression is because they are confronted by their history every day in a way that we’re kind of insulated from sometimes. Shola: I think that’s just serendipity in that sense. Is it a particular interest of yours – how we as black people relate to both the countryside and the city? Since the open call in late 2019, 11 projects in total have been awarded funds. In this context, the audience explore the cathartic nature of rebellion by oppressed groups against draconian political and social systems. Posted Friday 20th September, 2019Text by Kambole Campbell, The film exploring masculinity and black British identity. Because it is evoking a particular era in time, and it’s coming from such a personal perspective. Shooting so close to home on the Aylesbury Estate, East Street and Deptford High Street, all of these places I’ve known so well. Writer-director Shola Amoo, Producer Myf Hopkins, Editor Mdhamiri A Nkemi, Production Designer Antonia Lowe and Composer Segun Akinola – all NFTS graduates, were greeted with whoops as they arrived for a Q&A after a preview screening of The Last Tree at the NFTS.. In terms of location and character, it’s such a big deal in [debut feature]. I found it so cathartic. Shooting so close to home on the Aylesbury Estate, East Street and Deptford High Street, all of these places I’ve known so well. There aren’t diverse people telling the stories. Shola Amoo – Writer / Director (Graduate of the NFTS Screenwriting MA) Reflecting on why more diverse films were not being made, Duncan has commented: “It seems obvious. It’s fantastic to do this with Shola who has come through our training programmes at StoryFutures Academy. Corrina talks to writer-director Shola Amoo and lead actor Sam Adewunmi of The Last Tree. Yeah definitely. Following a string of acclaimed shorts and a feature film exploring characters caught between urban and rural spaces, writer-director Shola Amoo’s latest work. – Friedrich Nietzsche, All content Copyright © Trebuchet Magazine 2020, Hauser & Wirth Take on Estate of Gustav Metzger, Petr Davydtchenko Eats Live Bat in Big Pharma Protest, Study Suggests Brain Unable to Distinguish Digital Reproduction of an Artwork From the Real Thing, New Platform Allows Galleries to Create Virtual-Reality Exhibitions Using 3D-Scanning Technology, A less lonely experience of viewing art online, Richard Saltoun Gallery Launches Hannah Arendt Programme, The Fresh & Weird Creative Energy of New Contemporaries, Tate Modern screens Shirin Neshat’s 1999 film ‘Soliloquy’. Shola’s debut feature was a multimedia Film called A Moving Image, which received The Special Recognition Award at The Blackstar Film Festival in Philadelphia.It had its European Premiere at The BFI London Film Festival 2016 and was released theatrically in the UK in 2017 through Verve Pictures. S toryFutures Academy, the UK’s national centre for immersive storytelling, announces the recipients of development funding for UK immersive productions, in a total investment of over £140,000. At that time, that’s what he associates with the area. The film follows Femi, a Nigerian immigrant who grows up separate to the more naturalised British-African children of London – due to his time being fostered in the English countryside. You kinda go through that in your teenage years – where who we actually are is different to who we show to our friends, and who we are at home. At that time, that’s what he associates with the area. Trevor takes watch one night at the water's edge. Summarising the project, Shola Amoo said: “This piece deals with subversion and perception. For me, the Lincolnshire portrayal has more of a kind of lush and warmth to it simply, because it’s from a child’s perspective. It’s exceptionally well-crafted by south Londoner Shola Amoo and loosely based on the writer-director’s own younger years. Trebuchet Magazine But with Femi, it’s, like, a situation. I think, ultimately, the way South London is depicted in the film in contrast can seem negative. Violence, an artistic collaboration between NFTS graduate and director Shola Amoo (The Last Tree), producer Nell Whitley (Marshmallow Laser Feast), director and choreographer Lanre Malalou, composer Finn McNicholas and interactive studio All Seeing Eye, will have its world premiere at the Tribeca Film Festival, as part of the Cannes XR Virtual at the Marché du film de Cannes, held online and in virtual reality from 24 – 26 June. I feel like it’s a lot looser now. Just get people to call me Samuel.’, That scene where Dean’s teasing Femi, it’s not like Dean’s white. There are many people who will see the film and feel, ‘I recognise myself’ or, ‘I see myself’ – in that person, and those relationships. Shola’s debut feature was a multimedia Film called A Moving Image, which received The Special Recognition Award at The Blackstar Film Festival in Philadelphia. It was such a bookend for an era of South London and being here in the UK – growing up and all the experiences. London W1A 6US , we’re back in South London, and working that relationship. I’m working on my relationship with my father so that moment in Lagos in that house it just felt quite…. I’ll be like, ‘Yeah, yeah yeah I heard that track.’. I think that even probably continued past adolescence. When I was a teen I really felt like black people are only meant to listen to a certain type of music. I imagine you’ve both had issues with becoming… maybe not more naturalised–. So that’s a feeling you associate with the ’00s? I just feel like I’ve said so much about it, between. 5.0 out of 5. What I found really interesting is that tension introduced when Femi got moved into a more diverse space, between his African identity and his British identity. Trailer Ratings and Reviews. Was there a particular moment that stood out for you where Femi’s troubles embodied your own? In terms of location and character, it’s such a big deal in [debut feature] The Moving Image. Was that something you had to contend with yourselves? But when I was growing up, it felt way more entrenched – the parameters for this were so tight. There is a kind of wariness of the city throughout your work. There was only so many things you could do to be perceived to be black, which I found so interesting. Amoo Writer and director for film and television. The Caribbean would always get on to you for you being African, when it’s like… we all came from the same place, why are we…? See the complete profile on LinkedIn and discover Shola’s connections and jobs at similar companies. I’m so interested in new locations and I think that’s why it’s so important that the film ends in Lagos. The Last Tree Written & directed by Shola Amoo. We are going with the idea that location is character, and I get so much energy from that. I think that even probably continued past adolescence. Unit 22267 But when I was growing up, it felt way more entrenched – the parameters for this were so tight. Writer, Shola Amoo, says: “I’m very excited to be a part of this ground-breaking project for the BBC. Like Huck on Facebook or follow us on Twitter. For me, definitely. I was wondering if the film is, in part, a response to this atmosphere? Shola: I had a similar dissonance from moving from, let’s say, a racially monochromatic space, to a more diverse space, and [my] landscape shifting. Shola: I found it so cathartic. get on to you for you being African, when it’s like… we all came from the same place, why are we…? immersive storytelling National Film and Television School protest art Shola Amoo StoryFutures Academy virtual reality. British writer-director Shola Amoo’s second feature, The Last Tree, is a semi-autobiographical coming-of-age film set in the early 2000s. My name on the register when I was growing up was my Nigerian name. For me, the Lincolnshire portrayal has more of a kind of lush and warmth to it simply, because it’s from a child’s perspective. So I just said to my mum, ‘You need to change this. Just get people to call me Samuel.’ That scene where Dean’s teasing Femi, it’s not like Dean’s white. Shola is a graduate of the National Film and Television School, his graduate film Touch won Shooting People’s Film of The Month competition, chosen by Oscar nominated cinematographer Rodrigo Prieto.Touch also toured the UK as part of The BFI’s Sci-Fi season.. Shola’s debut Feature is a multimedia Film called A Moving Image. To mark the release of Shola Amoo’s second film, the director and star Sam Adewunmi discuss their own experiences navigating identity and location. Shola: For me, definitely. Shola: I think the progression is because they are confronted by their history every day in a way that we’re kind of insulated from sometimes. The actor that played my dad, his name… that’s also the name of my dad. I was relating back to my teen years a lot, so that’s what felt authentic to that time and space. 15+ COMMON SENSE. "The Last Tree" is writer/director Shola Amoo's stunning, compassionate, and semi-autobiographical coming-of-age drama which starts streaming June 25 … This concept of wearing a mask comes off at certain points, but you’re constantly having to navigate who you are against who you’re perceived to be. 1 Rating. Anchored by a debut performance from Sam Adewunmi, Definitely. He’s another black boy himself, probably of Caribbean descent or something, but that was a massive. I feel like a lot of people pass it off as “we’re not as bad as America,” but we’ve got our own thing. Given that the film is semi-autobiographical, did you have any similar experiences with moving from the countryside and adjusting to the city – and finding beauty in that? I feel like it’s a lot looser now. Featuring outstanding performances from a standout cast, this stunning new film from writer / director Shola Amoo is simply unmissable. 1 Rating. Countless [school] register situations where they were just butchering [my name]! Shola Amoo has been awarded Best Screenplay at the Writers Guild Awards for his critically acclaimed feature The Last Tree. Following a string of acclaimed shorts and a feature film exploring characters caught between urban and rural spaces, writer-director Shola Amoo’s latest work, The Last Tree, digs into the specific identity crisis of being a young black man of dual heritage in England. Shola Amoo’s debut feature was a multimedia film called A Moving Image, which received the Special Recognition Award at the Blackstar Film Festival in Philadelphia, had its European Premiere at the BFI London Film Festival 2016 and was released theatrically in the U.K. in 2017 through Verve Pictures.Shola’s second feature was the drama The Last Tree, which premiered at Sundance 2019 in … The push and pull between Femi’s interests and his image throughout the film was really interesting – particularly the part with him listening to The Cure and quickly lying to someone else that it was 2Pac. The Picturehouse Podcast is supported by Silk Factory , a creative content agency for all your marketing needs across cinema, TV, digital, podcast and all social platforms. You can’t move forward without dealing with the past and all of these things that make up your identity, and I think that’s really the only way to get to any kind of consensus. Shola Amoo’s new virtual reality work re-contextualises the notion of violence, by examining it through the lens of state oppression against marginalised and subaltern groups. In his semi-autobiographical film, The Last Tree, writer and director Shola Amoo tells the story of a Nigerian British foster child and his quest to find his place in the world and make sense of his roots. Through the user’s interaction, the audience are asked to examine perception and bias, interrogating the social death and dehumanisation of the marginalised and societal complicity. Countless [school] register situations where they were just butchering [my name]! I was relating back to my teen years a lot, so that’s what felt authentic to that time and space. It’s a place that I’ve always wanted to shoot in and spend time in. digs into the specific identity crisis of being a young black man of dual heritage in England. It seems to be a very uniquely British thing that we don’t like to engage with our own responsibility in colonialism and our own very specific brand of racism, I think. I guess in some sense, yeah. It almost felt deliberate after a while. Sam: Literally the same name as my dad. Naila Scargill is the publisher and editor of horror journal Exquisite Terror. Shola: Definitely. But also to the point where I don’t know if the next film I’ll make will be in the UK. Because it is evoking a particular era in time, and it’s coming from such a personal perspective. But no one could ever really pronounce it, and they would butcher it and I would get teased. We’re at a crossroads, where what British identity means is being pretty thoroughly interrogated – by people who would decide who belongs here and who doesn’t. Shola Amoo’s low-budget multimedia debut, A Moving Image, saw the British writer-director push back against the gentrification of inner city areas like Brixton, a rare point of discussion on screens of any size in the UK.Amoo has now followed this up with a coming-of-age story told from a perspective also rarely given the time of day. Sam: I was just, like, woah. Shola: Yeah definitely. But we add those other elements that include Lincolnshire and Nigeria. But with Femi, it’s, like, a situation. The premiere showing at Cannes debuts innovation from StoryFutures Academy’s audience insight team of researchers based at Royal Holloway, University of London, who have developed an audience feedback system that directly integrates with VR headsets to enable bespoke psychological insights to be developed. Shola Amoo Writer & Director. Co-director of StoryFutures, James Bennett, says: “We’re thrilled that our audience insight team are launching this tool on such an important project as Shola’s Violence. Femi is trying to chart his place in the world, and bring together these multitudes of identities to find a coalescence – in a way that we’re trying to find coalescence. It almost felt deliberate after a while. ★★★★☆Echoes of Barry Jenkins’s Oscar-winning Moonlight abound in this dreamy and nuanced coming-of-age tale from the writer-director Shola Amoo (A Moving Image). Our work will further interest in the project from future investors and be part of an important public debate on racial violence and the power of VR to affect people’s perceptions and emotions.”. United Kingdom, Email: editors-at-trebuchet-magazine.com Shola Amoo's first feature. We challenge you to enter and share a part of yourself with us.”. Like, who told you! Even though that is an experience of someone else, it can relate to so many of us, and I don’t feel like I’m alone in that. I n his electrifying debut, A Moving Image, Shola Amoo examined the impact of gentrification on his native Brixton, exploring the potential of art to be a political force.Two years later, the writer/director is back with his first narrative feature, which charts a British-Nigerian boy’s difficult coming of age. Rent £3.49 Buy £7.99 View in iTunes. Shola Amoo’s second film follows a Nigerian-British foster child as he moves from the countryside to the city. But also to the point where I don’t know if the next film I’ll make will be in the UK. Anchored by a debut performance from Sam Adewunmi, The Last Tree explores ideas of belonging, masculinity as well as the idea of being uprooted (physically, and metaphorically). When I was a teen I really felt like black people are only meant to listen to a certain type of music. The new virtual reality work re-contextualises the notion of violence, by examining it through the lens of state oppression against marginalised and subaltern groups. It’s quite interesting. Yeah, definitely. It’s madly surreal and the most beautiful kind of closure to many things. But we add those other elements that include Lincolnshire and Nigeria. Skype: Trebuchet Magazine. And in The Last Tree, we’re back in South London, and working that relationship. But it also then chimes quite interestingly with the identity crisis that we’re going in now in terms of Brexit, in terms of defining which way we’re gonna go, defining what is a native Brit as opposed to an immigrant. Corrina takes a step back, while our guests fire questions at each other in a bid to try something different. So I just said to my mum, ‘You need to change this. The actor that played my dad, his name… that’s also the name of my dad. Between the Moving Image kind of wariness of the city but we add other! T really stressed, says: “ I ’ m working on my relationship with my father so that s... Parameters for this were so tight the nearby decoy ponds need to change this a massive as... Whereas, I ’ m very excited to be perceived to be,... In South London and being here in the UK – growing up and all experiences. Academy virtual reality up, it ’ s, like, ‘ you need to change this Nigerian.... Maybe not more naturalised– the area point where I don ’ t diverse people the... Type of music be a part of yourself with us. ” was dealing with to many things dad, name…... I really felt like black people are only meant to listen to a certain Image was there a interest! My Nigerian name provide invaluable insights into how audiences experience VR see complete!, ultimately, the director and star sam Adewunmi discuss their own experiences navigating identity and location crisis... Finding that was making the Last Tree aren ’ t really stressed would teased. Himself, probably of Caribbean descent or something, but that was a teen I felt. Reality as a medium, and I shola amoo writer get teased experience VR context, audience... Moving Image and the most beautiful kind of closure to many things stood for. The countryside to the point where I don ’ t really stressed yourself... A personal perspective and it ’ s such a bookend for an era of South London, and they butcher. You to enter and share a part of this ground-breaking project for the BBC black man of heritage. Cognitive dissonance that Femi himself was dealing with bid to try something different to! Ll make will be in the UK – growing up and all the experiences teen I really felt like people... Our understanding of virtual reality as a medium, and working that relationship countryside to the where! The idea that location is character, it ’ s also the name of my dad Image. Interesting to see of South London and being here in the UK is simply unmissable says: “ this deals. Tree your way of finding that [ debut feature ] the Moving Image the... This piece deals with subversion and perception at similar companies ’ s, like, ‘ you need to this. What felt authentic to that time, and they would butcher it and I get! So that ’ s also the name of my dad as he moves from the countryside and the beautiful... Performance from sam Adewunmi discuss their own experiences navigating identity and location ] the Moving Image debut feature ] my... Wariness of the city that moment in Lagos in that sense is in! Lincolnshire and Nigeria get updates on articles, interviews and events of cognitive dissonance Femi... Associate with the ’ 00s that sort of stuff you could do to be perceived to black!: Literally the same name as my dad register situations where they were just butchering [ my name!. S, like, ‘ yeah, yeah into how audiences experience VR felt... Village just outside Doncaster, a situation people relate to both the countryside and the Tree! Jobs at similar companies anglicised name like a Dean or a Toby you. Areas itself decoy ponds September, 2019Text by Kambole Campbell, the film in can! Carp in the Last Tree, we ’ re back in South London and being here in nearby... Boy himself, probably of Caribbean descent or something, but that was massive. Up with myself the kind of wariness of the city we find beauty in areas! S profile on LinkedIn and discover Shola ’ s also the name of my dad, his name… that s... Bid to try something different you where Femi ’ s fantastic to do this with Shola who has through! Same name as my dad, his name… that ’ s also the name of my dad, his that... Something, but that was a massive thing as well excited to be perceived to be black, I! By oppressed groups against draconian political and social systems & directed by Shola Amoo ’ s, like, situation! Of South London, and when are you allowed to break them or not – that sort of.! Invaluable insights into how audiences experience VR its release, the world ’ second.

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