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their everyday lives. The cast includes John Simm (The Lakes, Boston Kickout), Andrew Lincoln (This Life), Jo Brand, Howard Marks and DJ Carl Cox.
Niblo is convinced that the film has wide- ranging youth appeal. “The characters in Human Traffic have all got jobs or are at university,” he says. “They’re struggling with the serious issues of youth - sex, love, friendship, paranoia. There’s never been a film that represents youth culture quite like this. The dance scene is a massive phe- nomenon, there’s two million ravers every week. Our characters are all intelligent people, not just a bunch of wasters. This movie is not about alien- ation. It affects everyone.”
Kerrigan agrees: “This film is about universal anthems. It’ll probably annoy a few people, but only if they are
out of touch with
what is going on amongst most of the young people in Britain. I don’t want to sound big-headed, but I know it will get wide attention.”
He admits he
was shocked at
the experience of
actually making
the film. “Every
day, I wondered
whether I would
beabletodoit.I
couldn’t believe
how stressful,
manic and heart-
breaking film-
making can be. At
the end of the first
day I thought
‘God, I’ve got
loads more of these to go.’ I did not sit back and congratulate myself. I just thought of all the things I had wanted to do but didn’t have the time. But I concentrated on trying to enjoy it.”
Kerrigan found the collaborative experience on the set a great source of comfort. The film changed once we started shooting. The essence remained the same, but the form altered a bit. I was very fortunate because I had a brilliant rela- tionship with the cast and crew. I found the help from those around me very useful. As long as you communicate clearly what you want then every- thing runs smoothly.”
“I just thought that I had an incredible oppor- tunity to do something original. There are many reasons why I wanted to make this film. I wanted to make a film about what I was feeling and relate it to an audience. I wanted to put a different slant on life, put it in a different context. I like to use something wild to get more insight in to the char- acter.” A case in point is when one of the charac-
ters is sitting on their own in a bar feeling nervous and paranoid. Suddenly, the national anthem starts up and the character stands up and sings his own lyrics. One by one the rest of the bar get up and join in. That sounds rather strange?
“This movie is very off-the-wall. I can’t imag- ine any other director filming it. Only I could make this kind of film. It’s very me. This film has no beginning, middle or end - it’s all character driven. As far as I’m concerned, plot per se ended with Agatha Christie. I love to make my audience part of the film. They’re not just watching it - the char- acters are saying ‘come with us, we’re going to take you on a journey.’”
When asked about the Welsh factor Kerrigan sighs. “I hate that stuff. I’m not waving any flags. It just happened that I was born in Cardiff and I shot
the film there because I know the city. Cardiff is not Wales. It’s not even a hybrid of England and Wales. It’s a unique place. Very metropolitan and I use that.”
“I’m not trying to give an opinion on Wales. Unlike previous Welsh movies like Twin Town, my film is about real people rather than a small community.”
Human Traffic
has now finished shooting and is being edited. The film is to have a big launch party at Cannes in May and Kerrigan and Niblo
are putting together a fifteen minute promotional teaser to be shown there. “It should be a hoot to be at the Cannes Film Festival,” Kerrigan says excitedly.
As well as the obligatory press junket, which Kerrigan admits he is looking forward to, two doc- umentaries are currently being put together about Human Traffic and its writer/director. Despite all the attention, Kerrigan remains modest and self- effacing. He has recently relocated to London and wants to make a film in the capital next.
“I’m not the most patient person, that’s why my characters speak their dialogue so fast, but I can’t think about anything else at the moment, especially another film. I’m concentrating on one thing at a time. I’m not in this business just to get rich and fat.” ■ BEN FALK
Human Traffic was photographed by David Bennett and originated on
BAFTA CYMRU AWARDS
T
acclaimed film drama, House Of America, and the much-lauded Welsh language television series, Tair Chwaer.
Awards went to House Of America for Best Director (Evans), Best Actor (Matthew Rhys), Best English Drama, Best Design and Best Costume. Tair Chwaer, about three women who try to change their lives through country music, won Best Actress (Donna Edwards), Best Cinematography and Best Screenplay.
Also among the total of 27 BAFTA plaques handed out to the brightest and best working in film and TV in Wales today were Best Original Music (Twin Town) while Bydd yn Wrol scooped Best Welsh Drama and Actor.
As part of BAFTA’s work to encourage bright new talent, there was the first-time award of Best Short which went to Margaret Constantis for The Confectioner. Tribute was also paid to Casualty mastermind, Geraint Morris who received a posthumous BAFTA Cymru Special Award for his outstanding work in the film and television industry. ■
he 7th BAFTA Cymru Awards, attended by more than a thousand people in Cardiff on April 12, were dominated this year by Marc Evans’
Photo: Director Justin Kerrigan on the set of Human Traffic.
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PHOTO: TED GIFFORDS