Meet the Adebanjos - Wikipedia
Meet the Adebanjos (TV Series –) cast and crew credits, including actors, actresses, directors, writers and more. Posted By: TAJUDEEN ADEBANJO On: February 23, February 22, In: Motoring wrought a much bigger change than might have been expected and endowed Call it an iron fist in a velvet glove, but thanks to turbocharging and. In , the release of Iron Sky, which began life as a trailer in jest, raised in the region of .. of the first ever British African sitcom series Meet The Adebanjos. .. That evening I received the call that I had been cast in the film; not only that, but.
Collaborate across sectors i. Extend beyond the film industry itself.
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Think about mixed media projects and exciting ways that you can tell your story through the prism of another discipline. Think about parts of the world where you can shoot with the benefit of tax rebates, or countries which are more likely to be receptive to the films that you want to make. Pool resources and skills even more than you currently are doing. Talk to your accountant and people in the city. Consider attending an angel investment event. Shoot outside of London. Explore locations beyond the M25 area.
There are still swathes of the English heartland that are crying out to be shot in a compelling way and which will bring new perspectives to the story that you are telling. Return to e-mail marketing as a significant way to create public awareness for your campaigns.
Develop and grow them. Reduce the budget of your current project by a quarter, Get tighter with your budgeting. And what a great time of the year it is to be at the pictures. So why should she have this privilege you may ask? Why should you care what she thinks about a big-budget movie or otherwise? The answer increasingly seems to be: For marks the year the professional i.
The cull that started in the US finally arrived in the UK. Increasing numbers of my colleagues in the mainstream press have been axed, retired or told they can only continue if they take massive pay-cuts. Obviously I think this is a bad thing. What are we losing here? And what is the role of a film critic anyway? In the old, pre-Internet days seeing the point of a film critic was simpler.
We were news-bringers and gate-keepers. A hatchet job critique can be an entertaining read, but, as a force for good, we helped — and still do help — to introduce audiences to new, often challenging work. But then, so do film festivals. BUFF is a shining example. It provides a valued platform to filmmakers whose work can struggle to be heard in the mainstream media. Festivals are a chance for audiences to see films unprejudiced by reviews, marketing slants or hype. It is at festivals we see that critics, industry and audiences share a level playing field.
Filmmakers will value both, but also the praise or constructive criticism of the professional reviewer. Because what differentiates the professional reviewer, as well as, hopefully, a skill for insightful analysis, is that they give an informed context for their opinion. One based in an extensive knowledge of cinema and wider film history. Added to that is the fact we see a heck of a lot more movies than you do.
I see about 6 new films a week, for example. That said, criticism is subjective. And no critic is an ultimate authority. Film festivals, more than anywhere, are where critical objectivity can fly out the window.
At Cannes, for example, passions run particularly high: Here, even broadsheet critics can over-excitedly shower films with stars that, if viewed outside the festival hothouse, they might have appraised more coolly. So, why should you trust a critic to tell you if a film is any good, or not?
Studios are starting not to. But, even so, who are these random Tweeters on the posters? What weight does their opinion hold? You could probably find a Twitter-user who loved the Diana movie if you looked hard enough.
Which is great for non-elitism. And, on the upside, social media has proved a revolutionary facilitator in allowing independent filmmakers to create a word-of-mouth buzz for their films without the need for a prohibitively expensive marketing campaign. But, to me, the professional critic still has a role. To me, a critic is a guide. A guide you may not always agree with, but who entertains you, occasionally enlightens you and one whose opinion you respect.
A guide who is comprehensive, who has the time to see everything from tiny festival movie to massive blockbuster and, ideally, give them equal consideration. To do that properly is a full time job — and should be valued with a living wage. And in our non-stop, ever-expanding media Babel, a guide is more essential than ever. We welcome you to the home of urban film coverage in the UK and another 12 months of insight from those in the know — telling it how it really is.
After talking at length with him I found the concept, and the man behind it, to be both fascinating and seemingly a perfect fit for my film, so naturally I enthusiastically agreed to be a part of the festival — and what a festival it turned out to be… Before the film screenings began there was a day of free events at the Channel 4 building.
This was a topic that clearly the majority of those present cared very deeply about and the palpable energy in the room as the subject was explored in an open, eloquent and intelligent manner was testament to the fact that this was an extremely necessary and worthy debate and one that felt like it very much needed to happen. Screened in the plush surrounds of the Odeon Leicester Square, I found it to be the most enjoyable cinematic experience I can remember having in a long while.
The film itself was funny, exciting, and moving — but most importantly the audience was clearly engaged and responsive. I found it very refreshing to see the restrained performances and obvious moral standpoint that we are simply not used to witnessing in the majority of our homegrown films. Next up was the shorts block. Of course I had my favourites, but it was the overall quality on show that really surprised and delighted me.
It is also worth noting that, whereas the American shorts blocks had featured films from all over the world, each of the BUFF shorts was British-made — testament to the often maligned fact that we really do have a huge amount of domestic talent in our country that desperately needs to be nurtured.
I could single out several shorts for special praise as Emmanuel insisted I did on the night! I understand that a small sample will be broadcast by Channel 4 at some point, but I sincerely hope that those not lucky enough to be selected will be available for public viewing in some other manner.
As Day Four of the festival arrived I had a bittersweet mix of excitement as my film was due to close the festival but also a touch of sadness that the event was coming to an end. It really had been a memorable and enjoyable experience and I had met so many lovely and interesting new people — both participants and attendees, within the industry and beyond. Without wishing to sound like a gushing voiceover on a TV advert for Disneyland, it truly was a magical evening.
The latest Hollywood blockbuster plays in every cinema, on every internet streaming site, you can buy it at your supermarket and, soon enough, watch it on broadcast television. But most of the films that BUFF shows — well, miss them and you may never get another chance to catch them again. I began this blog by saying that before I made a film myself I had no experience of film festivals.
And no one is going to make an effort to inform them otherwise, besides film festival organisers and those, such as yourselves, who have already discovered this unfortunately often neglected world. Tell them how much you enjoyed it. Tell as many people as you can.
We, the audience, should be the ones promoting these festivals and their films — not the festival organisers or filmmakers. And if you saw one film this year then next year go see two.
Or do what I did and just watch them all — after all, you never know when you might have another opportunity to see them again in the future. Chances are, quite possibly never. For the record, and as is custom with all films that are ever made, disclaimers can occasionally be used to make political or similar points. The blog in question in addition to all the BUFF Blogs which have ever been published since April is still available to read online.
Most of them are ordinary windows which, in the right light and with the right angle, can give a reasonably good reflection. Best of all are, of course, the mirrors which provide a clear and hopefully pleasing image. However, the glass surface that most disappoints in terms of reflection is the television screen — particularly if you are Black in Britain.
Probably those that reflect the wide spectrum of the lives of Black people in Britain. That would be wonderful. But would that be enough? Data from the UK census indicates that there are four interconnecting and overlapping elements of the Black community in Britain — Caribbean, African, Black British and mixed-race.
Although not on Freeview, the African community has done well to establish successful and sustained TV channels on the Sky satellite network. These channels reflect not only the lives of the British African communities but also strongly reflect the cultures that they still draw on from Africa itself. The main element of the Black community that is therefore missing from the television screens of Britain is the Caribbean community. Despite Caribbeans living in the UK, in numbers, for over half a century there are no Caribbean channels on any of the platforms and almost no Caribbean content or programmes on any of the other 1, channels.
But despite that, and after 50 years, British Caribbeans still have no regular non-music presence on any TV platform in the UK. However, the first step in seeking to get Caribbean content regularly on British airwaves began in May with the broadcast of the first series to reach the UK from the Caribbean in many years and the first ever from Barbados.
It requires that a camera crew follow the family around and films their every move. Now, Irving, Angela, Tracy their year-old daughter and Nathan their year-old son have to coexist while looking good for the cameras, resulting in embarrassing encounters and hilariously awkward TV moments! The ages of 11 to 15 are crucially important to young people as this is the key period when they are looking to form their own identity and when they need to be able to draw on appropriate cultural reference points.
When these reference points do not exist or are not sufficiently visible or mirrored in the media around them, then there is a mismatch which can have negative consequences. The post-Nollywood era is indicative of the growing sea change in the way that films commonly branded as Nollywood have been perceived by global audiences and appreciated in equal measure over the last 18 months.
We wanted to shoot in a neo-realist, documentary style in pidgin and Yoruba with English subtitles. Until then, I had written and directed a couple of shorts and plays that did pretty well but was yet to see any kind of mainstream success.
I knew the industry was more likely to take me seriously if I made a feature — so we did. She is concerned with what everyone outside will think of her and her family. She comes from a higher social class background from Dad and never lets him forget that.
As a mum she is confident, bold and loud but she commands a lot of respect from the kids. Bayo has a way of getting her onside with all his big plans and dreams, but it's always left to her to pick up the pieces when his plans inevitably fall through! Gladys has now got to the stage in life where she is fed up of playing second fiddle to Bayo and putting up with his shenanigans.
She wants to be loved, romanced, wined and dined and taken on short haul holidays to Venice Sade Adebanjo Played by: Andrea Ama Aboagye Sade is the 17 year-old daughter in the Adebanjo household. A typically self-absorbed teenager, she's focused on making sure her father's old-fashioned values do not mess up her social life. She is frustrated by her parents' over-protectiveness and longs to be allowed to go to more parties and events with her friends.
She is single and craves a boyfriend, but has not had much luck in that department. Being brought up under her parents' strict ways has made her naive to things that happen in the real world and, like her father, she can be quite gullible. She is desperate to be friends with the most popular girls in college and will do anything to get in their group.
Tobi Adebanjo Played by: Daniel Anthony Tobi is the 15 year-old son of the Adebanjos. He's not too academically gifted but is very good with his hands and picks things up very quickly.
He is a great salesman and good at hustling money out of his Mum and Dad. Tobi is going through puberty - voice, hair, girls and wet dreams.
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He considers himself some kind of ladies' man, even though has yet to kiss a girl he is just at the holding hands stage at the moment. As with his sister, there is a lot of pressure for him to be good at school. He tries his best but it just does not quite click, which drives his Dad nuts. Tobi mostly enjoys winding up Bayo, who he has a love-hate relationship with. He plans to set up his own online business after he finishes his GCSEs and try to make it the next Facebook. But his Dad will drag him to college if he has to!
Funke Blondie, Funke Fabulous. Moji Bamtefa Aunty Funke is Gladys's 48 year-old older half-sister, who lives in the spare room of the house.