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23rd April 2021
Limitless Potential
With a visual style that blurs commercial aesthetics, lyrical storytelling and pure documentary, interdisciplinary filmmaker and producer Eloise King is part of a new wave of creative polymaths flowing between different spaces with ease. From institutional and structural racism, cultural turning-points, the Black liberation movement and gender violence against women, her work seeks to centre marginalised perspectives with authenticity and empathy. With the release of her latest ad for Barbie – an uplifting paean to the potential of young Black girls fronted by Clara Amfo – she reflects on why the next generation needs space to simply be themselves.

 

Eloise King

 

What was your childhood like? Were you interested in film from a young age?

 

I grew up as the only girl in a family of 11 boys – brothers and cousins. I rode a BMX, I had a gymnastics scholarship, and played Peter Pan in the school play. I was a voracious reader, story writer and I directed many Barbie scenarios. Looking back, I was allowed to fearlessly explore my interests.  By 14, I was absorbing every documentary I could – Kim Longinotto, Brian Hills ‘Feltham Sings’ stood out – when I gleaned that films offer intimate windows to the world. When I told my teacher, she responded that being a filmmaker was too competitive so I should think of something else…

 

Milk Honey Bees / Barbie, Raise Your Voice

 

How has your background in journalism and TV – plus your role as a former global executive producing at VICE and i-D – gone on to inform your approach as a director and the types of projects you’re drawn to?  

 

I am an interdisciplinary filmmaker by virtue of all of the spaces I inhabit and sources of information I am drawn to. I think I am naturally observant or analytical, which lends itself to a dynamic understanding of visual language, story and character. That said, I’m still growing and experimenting with new ways to fuse my influences, surrealism and humour into my work as there’s a danger of being too earnest. I want to make projects that force me to learn something new and provoke creative growth.

 

You’re dedicated to working with intersectional crews on your films – why is this important to you and how could more directors benefit from having a diverse team of black, people of colour, white and queer and non-binary, men and women?

 

As filmmakers we build worlds, and my crews reflect the world I live in. A friend said to me recently: “Privilege is inversely proportional to insight. I can see you but you can’t see me.” That chimes with me deeply as a Black queer woman director.

 

CoppaFeel, Grab Life by the Boobs

 

Your aesthetic feels authentic and natural, and your spots for CoppaFeel! and Nike Women in particular sing with body confidence: how do you go about creating an atmosphere of authenticity and that allows your cast to relax and be themselves in these types of shoots?

 

I intuitively tap into people’s energy and rhythms – but it’s an exchange. I’m curious, so I ask lots of questions; being a documentary filmmaker has definitely helped me refine this, but I always want to have enough room to respond to the person in front of me, to make them feel safe enough to show themselves.

 

Female empowerment and potential is clearly a theme that’s very close to your heart and it’s encapsulated in your latest film for Barbie. What was the brief and how closely did you work with Clara Amfo and London grassroots organisation Milk HoneyBees to bring the concept to life?

 

The brief was to create a piece marking Clara’s appointment as a Barbie role model and raise awareness of Milk HoneyBees’ core mission; to empower Black girls. It made me think about Breonna Taylor, Shukri Abdi and the response to Meghan Thee Stallion being shot, as well as the way 7-year-old Wynta-Amor [Rogers] at a [Black Lives Matter] protest in Merrick went viral. What would it look like for Black girls to be uplifted and protected in society?

 

Right away, I envisaged a playful, DIY, Charlie’s Angels style call-and-response film that put the girls’ POV at the heart of the film – starting with Black sisterhood as Ebineheta invites Clara to work together with her on the mission. The film explores how confidence is expressed in a variety of ways. There is a tendency towards the adultification of Black girls and it’s deadly. Black girls aren’t adults, they shouldn’t have to fight against their own oppression or be strong all the time. The greatest gift we can give the next generation is a limitless space to imagine, play and heal, to be themselves – and Clara’s central narration offers this from the heart.

 

Milk Honey Bees / Barbie, Raise Your Voice

 

And what are your favourite aspects of the finished film?

 

I love that it’s honest. This is a commercial I would have liked to have seen growing up. Watching Iris, Riley-Ann, Kennedy and Bailey and Adduni come into their own: play instruments, paint, dance, direct and experiment while encouraging in whatever makes them happy. Seeing how proud they are of themselves and how it will make other Black girls feel is everything – it’s positively good for the soul.

 

As a director whose work examines institutional and cultural turning-points and the tensions of ‘progress’, how have the events of the past year – the Black Lives Matter movement and the exposure of institutional racism; the Sarah Everard case, violence against women and rape culture in schools – affected your worldview and sparked inspiration for stories you want to tell?

 

Reflecting on my body of work in the past 10 years, whether it’s been the Nike ad, a documentary about kids incarcerated as adults in the US, commissioning films about Sisters Uncut and Yarls Wood protests, fashion profiles or scrutinizing female stigmas for Gurls Talk with Adwoa Aboah – and now my film – my work has made so many comments on the tensions of ‘progress’.

I’ve addressed institutional and structural racism, cultural turning-points, the Black liberation movement and gender violence against women, employing various forms, formats and mediums and making sure those stories centring marginalised perspectives are seen and heard. Personally, I don’t make work to prove anyone else wrong, or speak truth to power or prove anyone’s humanity – I am proof enough. I am inspired by people and want to create authentic complex experiences with them, to reflect people as they see themselves and elevate it – evoking empathy through film.

 

What are you working on at the moment?

I’m currently in production on my debut feature documentary supported by Field of Vision, BFI/Doc Society, Firelight Media and Wellcome Trust, and I am developing a fiction feature.

 

Interview by Selena Schleh

PRETTYBIRD UK website

Credits

Milk & Honey / Barbie, Limitless Potential

Production Company: PRETTYBIRD

Co-Founder UK/ Exec Producer: Juliette Larthe

Director and Creative: Eloise King

Writer: Laura Kirwan-Ashman

Head of New Business: Mia Powell

Producer: Paulette Caletti

Production Manager: Benji Landman

Production: Yazz Anderson-Moore

1st Assistant Director: Steven Olugbenga Eniraiyetan

2nd AD Jason Osborne

Director of Photography: Joel Honeywell

Stylist: Leah Abbott

Hair Stylist: Isaac Poleon

Hair Stylist Assistant: Tyeesha Taylor-Scott

MUA: Sogol Razi

Art Direction: Joseph Bond

Art Direction: Jade Adeyemi

Location Manager: Bart O Sullivan

1st AC: Hopi Demattio

2nd AC James Malamatinas

Sound Recordist: John Thorpe

Gaffer: Bernie Prentice

Electrician: Mike Casserly

Camera Trainee: James Groves

DIT: Mark Koslowski

Art Department Assistant: Sasa Thompson

 

Casting: Selma Nicholls

Founder & Casting Director

Looks Like Me Casting

 

Editor: Anne Perri

Music: Asriel Hayes accompanied by Madison Dorsett and Henry Gross

Edit Assistant: Miles Watson

Edit Producer: Ben Tomlin

Editors: Work Editorial

 

Head of Colour: Luke Morrison

Post Producer: Oliver Whitworth, Claudia Carmichael

Online Editor & Post House: Electric Theatre Collective

Sound Designer: Chad Raymond

 

 

Nike, We’ve Always Done It

Director: Eloise King @_elloweezee_

Director of Photography: Amelia Hazlerigg @ameliahazlerigg

Production Company: PRETTYBIRD UK @prettybirdpic
Co-Founder UK/Exec Producer: Juliette Larthe @juliette_larthe
Head of Production: Hannah May @hannahannahmay
Producer: Hannah Bellil @hannahbellil
Production Assistant: Chris Murdoch @chrisraymurdoch
1 st Assistant Director: Will Jasper @jasper2052
Movie Operator: Ricky Patel @rickymundo_

Production Designer: Joseph Bond @josephbondstudio
Stylist: Theo White @theowhitewine
Makeup Artist: Victoria Martin @victoriamartinmakeup
Hair Stylist: Isaac Poleon @issacvpoleon

Edit House: Work Editorial @workeditorial
Offline Editor: Anne Perri @anne_perri

Original music written and produced by:Asriel Hayes @a5ri3l
Poem written and spoken by: Abondance Matanda @abondance_

Colour House: Electric Theatre Collective @electric.theatre.collective
Colourist: Luke Morrison @thehux

Focus Puller: Louise Murphy
Clapper Loader: Abigayle Blacow
Gaffer: Edel Gardner @edelgardner
Electrician: Cleo Vogler, Max Milner

Stylist’s Assistant: Rashida Taylor
Makeup Assistant: Daisy Moore
Hair Assistant: Omar Majid
Art Department Assistant: Bernice Mulenga

Offline Editor Assistant: Bea Icke @beaicke
Offline Producer: Elle McNaughtan

Colour Producer: Oliver Whitworth

Sound House: Wave @wavestudios_
Sound Designer: Martin Leitner @martyleitner
Sound Post Producer: Beth Tomblin