Your SlideShare is downloading. ×
Cut N Run
Upcoming SlideShare
Loading in...5
×

Thanks for flagging this SlideShare!

Oops! An error has occurred.

×

Introducing the official SlideShare app

Stunning, full-screen experience for iPhone and Android

Text the download link to your phone

Standard text messaging rates apply

Cut N Run

229
views

Published on

A docu-drama about street cricket in India...

A docu-drama about street cricket in India...


0 Comments
0 Likes
Statistics
Notes
  • Be the first to comment

  • Be the first to like this

No Downloads
Views
Total Views
229
On Slideshare
0
From Embeds
0
Number of Embeds
0
Actions
Shares
0
Downloads
0
Comments
0
Likes
0
Embeds 0
No embeds

Report content
Flagged as inappropriate Flag as inappropriate
Flag as inappropriate

Select your reason for flagging this presentation as inappropriate.

Cancel
No notes for slide

Transcript

  • 1. Cut-n-Run : Street of Dreams It’s cricket, but not as we know it. A docu-drama Film. A tlc timlangford creative ltd/Marwah Studios, Delhi Production
  • 2. Working Title: Cut-n-Run : Street of Dreams It’s cricket, but not as we know it. Background In a country of startling contrasts between wealth and poverty, cricket incites a passion and fever amongst all strata of Indian society. In stark contrast to the Indian Premier League, ‘Gully Cricket’ (Street Cricket) is a game played by thousands of young Indians in the streets, back alley's and rough ground of sprawling metropolitan cities like Mumbai, Chennai and Delhi. “More than patriotism, this is about your area's pride. It's like the concept of ‘the hood’ in America.” Street Cricket is a seemingly spontaneous rough and tumble game played out within this landscape of urban chaos. A form of cricket with it's own rules, language and techniques adapted to the unruly, impoverished conditions of the Indian street. “Every street corner has its own set of rules about scoring – Jhaadi ke paar – 2 runs: Road ke paar – 4 runs: Roof Top – out…The last rule was to make sure that my cousin Sattar would not break any more windows…” The wider canvas for the film is the emergence of the IPL – where industrialists and Bollywood movie stars spent millions assembling teams of leading cricketers – arguably, a symbolic assertion of India’s 21st century economic confidence.
  • 3. Director’s View Cut-n-Run (or Tip-n-Run) Definition: Etymology English, sometimes distorted into Tiffin run: Here the batsman has to run if the ball hits the bat. Cut–n-Run: THE TITLE AS METAPHOR FOR LIFE I am interested in the idea of cutting and running through the game of street cricket, as a metaphor, analogy, way of life, of how the game – for a kid and maybe an adult – is an escape, a place in the mind, maybe escaping your background, your family, escape into a fantasy, dream world, maybe the idea of aspiration. Documentary Outline Proposal ‘Cut-n-Run’ is a documentary journey through the urban, Indian cricketing labyrinth – from the gully cricket playing ghettos of Mumbai, to the city’s venue for the IPL games, the famous Wankhede Stadium: from Delhi’s Feroz Shah Kotla cricket ground to the surrounding, teeming streets of youths striking a sticky tape tennis ball with an improvised shovelled piece of wood: from the makeshift broom stick wickets of raucous neighbourhood games, to the grandeur of Chennai’s M. A. Chidambaram Stadium – – the film will criss-cross the country to present a compelling series of portraits of these urban games, the competing neighbourhood teams and the players who dream of graduating from the wicket of the street to facing, the Premier Leagues, Shane Warne at the wicket in the Wankhede Stadium. “It was a motley crew. Sharad at fourteen was the punching bag, a butt for many a joke…my cousin Sattar at fifteen was the rowdy one, with a penchant for picking up fights at the drop of a hat. Christie at sixteen was quite the philosopher while Ronnie was a flamboyant seventeen…Manimaran was the wild one…” The story that will emerge will provide a visual kaleidoscope of modern day India, from the glamour and clamour surrounding the Premier League: to the ghettos - in sight of the stadium venues - and their cricketing streets as theatre of dreams.
  • 4. Structure/Themes There are three dimensions to the film – One: It’s about the life force that is street cricket in India. I want to show how the game is played, where it’s played, who play’s it, why they play it and I want to explain how it’s played. I want to show how it is part of the fabric of street life and part and parcel of growing up in India. I think this part of the story should be euphoric, full of anarchy, full of joy. I think this form of cricket is a great leveler, I think it is egalitarian (anyone can play however poor or rich). “The ball hit the meat of the bat and rocketed towards the bullock-cart. To our horror, we heard a loud thwack; the ball hit the bull squarely in the stomach, akin to a sucker punch.” Two: Socialization. My theory is that street cricket is expressive of a community, a neighborhood and about personal expression. I think it is about identity. It is about bonding with your mates, friends, it is about different kinds of rules and a form of socializing through sport. It may be about rebellious youth. It may be about freedom of expression. But what is it’s role in socialization? How and what do we learn through playing the game? Three: Personal stories/portraits of those who play. This part of the film is about personal narratives, about the lives of some of those who play. So the film delves deeper into the character of the people who play it. Some of the boys are poor, some wealthier. Maybe some of the boys live on the street. They’ve run away, or they’ve been dumped on the street…they are survivors but their lives are extraordinarily difficult. Street cricket is probably peripheral to their lives. They may be victims of abuse, they may be substance abusers. How do they survive? Is the idea of ‘Cut-n-Run’ a metaphor for their lives?
  • 5. Visual Treatment: Note The intention is to give aspects of the film an off-the-wall quality: using first person narrative, graphical animation and music. It is hoped that the film will feature song, lip-synced by some of the subjects to express the sub-text of the character and their feelings. Filming Details Phase 1: Research/shoot: 25th January – 14 th February 2009. Production: tlc timlangford creative ltd (London)/Marwah Studio’s (Delhi). Director/Producer: Tim Langford Contacts: UK: Tim Langford: Tel. 0044 7973 909741 Em. timlangfordfilm@mac.com http://www.tlcreative.co.uk India: India: Marwah Studios, Noida Film City, Delhi: Akshay Marwah: Tel. 0091 98 113 44229 Language: Hindi/English subtitling Distribution/Exhibition: - Feature documentary: TV/Theatrical. - 4 x 5 min short films (web distribution) - DVD Director Overview Tim Langford is an, award-winning director-producer (2008: Clarion Award – Best Video, ‘Torn’/IVCA Silver and Bronze ‘Torn’ in Best Documentary and Charity/Welfare) and writer with broadcast credits ranging from the BBC, MTV and Channel 4 to overseas broadcasters: RTE, MBC, Chello. He has worked freelance and through his own company (tlc ltd) for many years: working across drama, documentary, corporate communications, advertising, marketing and promotions. Recent films include the groundbreaking film on UK asylum seekers ‘Torn’ and the picaresque documentary ‘Hamlet in Kuwait’, exploring the psychological state of Kuwait after the Gulf War through the experiences of a theatre company on tour. His career has taken many diverse twists and turns from running an audio-visual production agency for a local authority and managing an independent production company; to making fashion videos; interviewing Al Pacino for Channel 4; producing a large portfolio of commissioned films for NGO’s and public/private sector clients; creating the world’s first in-flight shopping channel for BA; and making short and long-form documentaries.