When you set out making the film, what did you want to communicate about the world of B-Boying?
First and foremost I wanted to communicate the struggle inherent in the life of a B-Boy. DJ Renegade from England could not stress this enough and he was spot on. It’s a tough way to make a living, and even tougher to keep going as a B-Boy, whether because of injury, money, parental approval, environment or whatever. What I liked was that B-Boys were in it primarily because they loved it, so highlighting that passion was very important. The discipline that it gave them, the focus, the opportunity to do something positive and avoid taking the wrong path in life is such a deeply important part of the culture that I wanted to reflect that. B-Boys put such emphasis on improving one self that ultimately I wanted to show that it is a very positive world for anyone to be part of.
What have you learned about B-Boying?
I would say that I learnt a lot and nothing at the same time. I knew a bit before I started, and I was actually intent on not getting too familiar with the more complicated, technical side of things, because I never wanted to take for granted what someone with no knowledge might not understand. So I still struggle with some of the jargon.
Having said that though, I have never stopped learning off the B-Boys I know. Not how to dance, but how to apply oneself. How to be true to oneself. It’s that side of it that really inspired me – the focus, the dedication, the originality, the drive. And that is basically how I would define a B-Boy – as some one who always wants to push themselves that little bit further. And of course as someone who can God damn dance.
Have you tried B-Boying?
Once or twice only. I actually used to enjoy dancing but had to stop completely when I started filming Turn it Loose. As how the hell can you dance when surrounded by some of the world’s best. Having said that – at Lilou’s wedding last year, I was literally pushed into the circle. Thankfully four seconds later, I was pushed out again – which might give you an indication of my dancing feet. When I was in Japan, Taisuke actually said to me, “I hope your film making is going to be better than your B-Boying”.
What’s the best way to film a B-Boy Battle?
I think the way Chrigi from Partizan films the Red Bull BC One is how it should be filmed. He is a master. A beautiful slow tracking wide on a dolly to capture the dance in its entirety is the most important shot of all. But for me – I love the reaction of the B-Boy who is not dancing, but who is waiting, either studying his opponent or battling him in his reaction. After all it is a battle, in this instance between two B-Boys and I think for the entire exchange, whether you are down or waiting to get down, I want to see you in the act and in the react. Capturing this allows you to tell the story of the battle. The story of the battle and the story of the dance. Is what it’s all about!
Has working on the movie changed your life?
Of course and in more ways than I know! I spent more than two years working on the film and I gave it all that I had. I learnt so much about my profession and about the world. I learnt things from the B-Boys too. They teach you to believe in your vision, your take on things, but also that you can create something out of nothing as long as you want to. It’s given me drive.
What do you think will surprise people most about the film?
Hopefully lots of things! I think the music is extraordinary. There is obviously dance music in there but there is a score by Dan Jones that captures a more serene, emotional atmosphere that continues to blow my mind. I think what might surprise people the most is how quiet certain parts of the film are. Watching Hong 10 and Ronnie train without music, spells out the pain in a way you don’t understand when you can’t hear the impact on the floor. The pressure they are putting on the bodies and what they are asking themselves to do, is frankly incredible. I hope people who know nothing about B-Boying will be nothing short of amazed at the sheer and complete artistry involved in the way of the B-Boy.
7 Comments
Lot’s of interesting facts which were pretty new to me. Love it.
He’s cute!
Dear Alastair Siddons,
Congratulations on having your film Turn It Loose screen at the Seattle International Film Festival. I would like to take this opportunity to invite you to submit to the 2010 Lone Star International Film Festival (LSIFF) Fort Worth in Sundance Square.
The LSIFF is a presentation of the Lone Star Film Society and is committed to bringing the best in international independent cinema to Fort Worth. The LSIFF has succeeded in doing this in part due to the strong relationships our organization has built with the world class cultural institutions of Fort Worth such as the Kimbell Art Museum, the Modern Art Museum, and the Van Cliburn Foundation.
With a population of nearly 2,000,000 people, Tarrant county, home to the City of Fort Worth, constitutes roughly a third of the DFW Metroplex, the fourth-largest metropolitan area in the United States and the economic and cultural hub of North Texas. The Metroplex has the fifth-largest television and radio markets in the United States, providing a media rich environment in which to launch your film or continue its festival run. The select number of films programmed each year ensures that each screening receives the proper attention from pure marketing and publicity departments giving every film the best chance of being seen by a fervently committed arts community.
LSIFF has presented its most prestigious honor, the LSIFF Life Achievement Award, to Sidney Lumet, Martin Sheen, Bill Paxton, and Gregory Peck. Additionally, the festival has welcomed such noted actors, producers, and directors as T-Bone Burnett, Robert Rodriguez, Kris Kristofferson, Harry Dean Stanton, Fred Durst, Melonie Diaz, Rod Hardy, Andrey Zvyagintsev, Paul Soter, Donal Logue, James Manos, and Lauren Velez among many others.
Titles that have screened at LSIFF and gone on to earn accolades or distribution include Sunshine Cleaning (Overture Films, 2008 Sundance Film Festival Grand Jury Prize Nominee), 12 (Sony Pictures Classics, 2008 Academy Awards Best Foreign Language Film Nominee), A Quiet Little Marriage (2008 Austin Film Festival Audience Award Winner, 2009 Slamdance Film Festival Grand Jury Prize Winner), The New Year Parade (2008 Slamdance Film Festival Grand Jury Prize Winner), Grace is Gone (The Weinstein Company, 2007 Sundance Film Festival Audience Award), Before the Devil Knows You’re Dead (THINK Film), Nanking (THINK Film, 2007 Sundance Film Festival Grand Jury Prize Nominee), War/Dance (THINK Film, 2008 Academy Awards Best Documentary Nominee), Control (The Weinstein Company, 2008 BAFTA Awards Best British Film and Most Promising Newcomer Winner, 2007 Cannes Film Festival Golden Camera Special Mention and Prix Regards Jeune), Let the Right One In (Magnolia Pictures, 2008 Tribeca Film Festival Best Narrative Feature Winner), Wendy and Lucy (Oscilloscope Pictures, 2008 Independent Spirit Awards Best Picture Nominee), and How to Be (IFC Films, 2008 Slamdance Film Festival Grand Jury Prize Honorable Mention), The Messenger (Oscilloscope Pictures, 2010 Academy Award Nomination for Best Supporting Performance, Woody Harrelson).
We would love to have the opportunity to consider your film for our juried competition. All winners will be awarded with goods and services that will help you make your next film. Rewarding filmmakers for their art is of paramount importance to our festival. Please click on the below link to go directly to our festival’s page on Withoutabox:
https://www.withoutabox.com/03film/03t_fin/03t_fin_fest_01over.php?festview=1&festival_id=5602
In order to preserve the integrity of our competition, LSIFF is not able to grant fee waivers as this could be perceived as favoring certain films over others. We have, however, lowered all of our submission fees in an effort to make submitting as affordable as possible for all.
Our Competition Jury has consisted of such notable industry professionals as Christian Gaines of IMDB, Melonie Diaz, Betty Buckley, and Harris Dew of the IFC Center in New York. Past winners have received packages of services and software such as Autodesk Maya 2010, Final Draft, and Gorilla Film Production Software. This year’s Best Narrative Feature winner will again receive an assortment of goods and services that will assist the winner in producing their next feature film including a $50,000 35mm Panavision camera package.
Should you have any questions, please do not hesitate to contact me via this email or at the number listed below.
Congratulations again on all of your hard work. We look forward to seeing your film.
Best regards,
Andre McLane
Programming Coordinator
Lone Star International Film Festival
man this is wat we all been wiaitn for wen will the dvd be ready for relsease so i may buy it
Hello,
Where can we get a copy of Turn it Loose? We are interested for a private showing.
Johns Hopkins Bboying
410 575 3299
Please check with MK2. Link is on this website!
Peace
The commercial media/press is fucked. This film is so good, its the Wildstyle of today generation – honestly. I watched it at a film festival around this time last year, its epic. This needs to be re-release and put in Cinema’s all over the world.
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