 Good day and welcome to our program. I am Davina Lee and today I'm joined in studio with Mrs. Matherin Immanuel. Mrs. Matherin Immanuel, she's one of St. Lucia's foremost filmmakers under her belt. She has four feature films. Today she's in studio with some of her cast and crew to discuss her latest film, Chante's World. Welcome Matherin. Thank you. Okay and also join you on set right now is Ms. Jane Flavius who is your assistant director slash actress slash what else? This is a director and actor. An actor, okay. Okay, so for people who don't know who Matherin Immanuel is, give us a brief. Who is Matherin Immanuel? Matherin Immanuel, St. Lucia's award-winning film producer, as you previously said. I'm a teacher by profession, taught for 32 long years and during, I think it was in 2005, I decided to use the audiovisual medium to reach out to young people and that's how Ribbons of Blue was born. After I had produced the first film, Tears in the Valley and St. Lucia got incensed about that production. I decided why not continue, I should continue producing films that would inspire our youth and also families and Ribbons of Blue was sent to the UK, I'm sorry, to New York where I received my first award. From Ribbons of Blue I decided to continue, so Trouble Waters came into play and then Nanna's Paradise and currently we are working on Shanti's World. So I have never stopped producing because this is what inspires me because of the messages and whatever. Okay, thank you. So Jane, was this film your first entry into the film world or have you been working with Matherin before? Yes, I worked with Matherin a long time when we were involving some stage production. We were working with a group called Vision of the La Vie and I also took part in Ribbons of Blue and Trouble Waters. I mean that's my first time acting as a director with her, but not my first time. Okay, so what was that experience like in a different role because first you were an actress and you've had that background in theatre, you said before previously. So now as an assistant director we were behind the scenes and having the headaches along with Matherin, what was that like? It was challenging but it was fun and I mean along the way I learned a lot. Okay. And it was just an exciting journey with her. Okay, we'll talk about the journey. So Matherin, tell me a little bit about this new project Shanti's World. Give us a little insight into the film without giving it away. In 2014 the AVFA Audiovisual Film Association facilitated a competition for professionals in the audiovisual platform on that platform and I decided to pitch and I won and that came about from inspiration which I received after travelling through the region. I received a grant from the European Union to take my films to four Caribbean islands of my choice and I selected St. Vincent Grenada, Dominica and Antigua. And whilst I travelled to those Caribbean islands I realised that we were lacking something significant within the region and that is our past, history. Whilst it is true that we have our senior citizens like people like my mother who is 94 who tells us the stories of the past and what it was like in the Caribbean during that period of time, that is during the 1940s and whatever. I decided that I would try to secure or preserve that culture that existed back then and use it as a tool for information, education, entertainment and inspiration within the region, not just in Lucia but embrace the whole Caribbean and produce a film that we would resonate with culture-wise. And that's how Shanti was born. The word Shanti simply means bold black and beautiful and most of us who live in the Caribbean are bold black and we are not white folks but the majority are black people. So I decided to work on that production and that really, to me it was something that I got passionate about. I started, I wrote the script. Usually I would just, you know, the concept would be bold and I would just work with it. It's from camera. My actors, I would work with the camera, my actors and my brain. This time around I remember Drenia Fedevi told me, my friend, you know, this time you'll have to put your butt down and produce a script. And when she said that, you know, I said, okay, I said, Drenia, I'll be humble. I'll do that. I have never written a script before. But this time around I'll be obedient. I'll do that. So for the first three films it was no script? No script, just from my brain to the camera. Okay, so what was that process like for you? It was really, I don't know, it's one thing I cannot describe because many producers I've met told me that's virtually impossible. You cannot produce a feature-length film the way I explain it. Yes, I don't understand how you're able to. But it happened over and over again. Right. And I guess I was inspired to do it that way because, yeah, you know, the concept was always given birth to and I mean, a movie production or full-length feature film always came out of it. So it worked back then. So Hollywood producers tell me, no, I can't argue that it can happen because it happened with me three times. Right. So but this time around I didn't do it that way. I sat down and for many months I wrote the script. Okay, so force-overline script. It was a specific time period. You said maybe early 1940s, within the 60s. What kind of research did you do in terms of the historical background for St. Lucia and part of it we'll find out later. It takes place in the UK. So in terms of research, how did you do research? Was it just speaking to people? It got very exciting after I won the competition. But there are things I never really thought of. It's only when I decided to write the script I realized what I was in for and into. We are not living in the 40s. And the props and whatever I needed, some of them are nonexistent. But I still took on the challenge because I had the passion and I really wanted it to happen. So I started identifying the locations, as you said, reading much more than I ever did before. And throughout that journey I realized that we in St. Lucia have not really secured our history or documented it. Okay, we'll be right back in a minute with more stories from Shanti's world. Yes and Lucia, this is your point Mark 11 telling all the drivers on the road. Be careful on the roads today. And always roll with a designated driver. If you're the driver, drink responsibly. Go and come back home safely. Out. A message from the Ministry of Health, Wellness, Human Services, Gender Relations, and this station. Welcome back. We're in the studio talking to Matri Emmanuel and we're joined by her film family. On stage with us right now is Miss Liz Tobier who is the prop manager and also an actress in the film. So welcome Liz. Thank you. So tell me what was your experience like because this film is a period piece. So you have the hair must be right, the clothes must be right, the cars must be right. You know everything, the location must be right. What was that experience like for you as the prop manager? Well, I must say it was very challenging, especially since we had to work with props from the 1960s. So that was quite challenging. But I am the prop manager, but I have to give credit to Miss Liz Mather in Emmanuel because she sourced all her props herself. She even had to go far back as you, going up the states I think it was, to get her props. So what kind of props? What kind of props are the props? I guess she will have to tell you about it first. So tell us, what are the props like in the film? The grip also. All right. And dresses like what you are wearing right now, the shirts for the men, the corduroy and whatever for the plantation workers. And you know the very interesting thing that happened is when the trailer was produced, a pastor from Florida saw the trailer, a Jamaican pastor, and when he saw it, he decided to come on board. But the way he did it was so interesting, it became a miracle for us because he sent us a huge box of clothing and he said to me, Miss Liz Emmanuel, I'm Jamaican, I'm Caribbean, I love what I see and I would like to ensure that I help. So what I want you to do is to just sell the item, sell the clothing at a dollar piece in St. Lucia and use that money to feed your actors. Interestingly, amazingly, when I opened that box, it's just what I wanted. The shirts I needed for the forest scene, white shirts, jeans, old pants that we could use for the men, dresses and whatever, the hats. But then when it comes to the suitcases, the old grips, not many people still have those. So I normally travel to the States. When I went to the thrift stores early morning, 10 o'clock, 9 o'clock, I would be at the thrift store waiting so that when they bring in their stuff, at least when they have their suitcases, I would be able to pick and choose what I really wanted. When I got 13, I decided, well, that would be okay because with camera tricks, you can actually multiply. You know what that is, right? So I got them and placed them in the boxes. We were also able to travel to the UK. You should have seen us at the airport if I would. I guess the minute they saw my face, they knew we were getting ready for some action somewhere. So we were able to travel with those suitcases, those old grips to the UK. We got what we wanted. So your props for St. Lucia and for the UK because the UK, you also have two portraits. You set also in 1940s London as well. So what was that like? What was that experience like? It was wonderful. You know, that's one of the things that I learned when you get inspired. You just have to move on. If you don't move, as I say to my son, if you do nothing, nothing will happen. And as we moved along from one stage to the next, whatever we needed were provided. So just when I was about to travel to the UK with my team, I got some discouragement from some persons. But then I remained enthusiastic and passionate about what I was doing. And this gentleman one day, when someone had just injected a negative thought in my mind, just about four hours after being told that I wouldn't be able to get any help in the UK, this gentleman called Matthew Alfred. You'll hear about him from me sometime. He called and he asked me whether I had intentions to come up to the UK. And he said to me explicitly you have a home up there. And that was amazing. It was a miracle. Up to now I consider it to be a miracle. We'll talk to him about that when we think, but I just want to talk quickly before we go to break about choosing the locations because that's a big part of the film. So not just in the UK, but in Senoche. What was that process like? Because from the trailer what I saw, I saw it like this beautiful like a plantation. But where did you get, where were you able to get those locations? St. Lucia is simply beautiful. And all the historic sites, and there's just so much more to what we have seen. But it took a lot of time, energy, you know, walking through the forest, going, driving, you know, around, going as far as Souffre, you know. But the good thing is we had people who were also interested in the project, were willing, drivers, were willing to take us from one location to the next. We'd walk and drive around and ask for permission to use those locations. And everything worked out well. We even had too much than, much more than we needed, you know. So it was an amazing, amazing experience, training sometimes. I would get tired, you know, at night, so I would sleep with one head there and the other head on the other. But overall you would see that experience. But overall it was wonderful meeting people and, you know, just knowing that they too share your passion and that was really encouraging. Okay, great. So we're going to take another break, but when we come back we're going to speak to your actors and we're going to hear what their process was like, what it was like, what could it be, if it was their first time and so on. Thank you. So stay tuned, we'll be right back. I'm innovative. Sure! I'm competitive! I'm productive. I am creative. I constantly improve what I do and how I do it. I'm output oriented. I never stop learning. I give off my best, always. The National Competitiveness and Productivity Council embracing excellence. Welcome back and we're still talking Shanti's World and now we're joined by two actors from the film, Denzi Charles and Colby Devo. Welcome guys. Thank you for having us. No problem. So Denzi, tell me. Was this your first film? Yes, it was. And what was that like? Well, to me it was a very fun experience making new friends, having new adventures and new challenges to face. Okay, so how did you get involved? Did you know Mrs. Emanuel? Did you say, well one day I want to be an actress? Actually, I was at class and she actually came to my class and she saw me and she was like, you're perfect. Denzi, go. Okay, that's all right. What about you, Colby? Yeah, no, this is my first experience in film of any kind. I did theater at Secondary School and funnily enough it was when we were getting ready for because I went to St. Mary's College. We were getting ready for literary night. My principal at the time, Mr. Seon, came up to me and he said and I will repeat this word for word. There's a lady in Dairy Soul who's making a film and they need a white boy. So I told her I had one and yeah, so I went down and I auditioned for the part and the experience was incredible. Master said she wrote a script, but I'll tell you this. You get down, you read the script and then she tells you, okay, all I need from you is you have to say this line. Everything else, you just make it up. You kind of go around because I know you can do it and I've seen you do it. I just need this line. So it was, yes, there's a script but a lot of it is really the actor being in character and really putting out what the character would be. So just on that note, how did you research for the part because especially if you have to just take it like almost like you had it go along except you just know what you want to bring out of the character. What kind of research did you do? How deeply did you dive into your character for that role? To say I went and did a lot of research, not really. I did history for CXC so I knew what happened during this kind of times and people would send their children away for school and for all sort of things. So it was kind of easy, especially when, I mean you'll see in the movie there are scenes where Chante's dad or my mother for example they make it very easy to play the kind of character that I have to play simply because of how well they portray their characters. So it was easy just to be able to say bounce off them and feed off their energy, give them back the same energy and find your place in the scheme. So Denzi, what about you? So when you got on set, what was that like? Well at first I was terrified. I had to come out of my shell being in this project, really helping with that. And now I would say I'm a pretty bold person now because of this film. Okay, because of the film. Okay, so are you looking forward to being in more films? Definitely. Okay, so like actors have a very special relationship with the director. So what was that like for you guys with with my friend? What was that like? Well Miss Maffron is a very crazy and funny person. So my mother would say I'm the same way. So our personalities blended very well. Okay, and for you Kobe, what was that like? I never felt unwelcome. I never felt ostracised or different. And when you get down there, they always teased me. Everybody teased me about one thing. I can't speak a word of crew at all. So everybody would tease me about that. But otherwise I never felt different at all. It was a great place to be, great experience. And were you also in the UK cast as well? No. Or were you just looking a little upset about that? They left me behind. But I could understand because I mean expenses and everything. But your character story didn't travel into that space? No, because my character would have gone to France on the other side. And at the time I had Cape Around the Corner because I think they went in April. And my exam started in May. So there was no way my mother would have let me go anyway. Okay, so is there any other experience from the film that you guys want to share? Like anybody probably wants to be an actress. They don't know where to start. They don't know what to do. Like Denzi, for example. Somebody who's shy. And maybe has never thought that they could be an actress. And you're saying that it has helped you in terms of, you know, being more open. So what would you say to somebody who wants to? Well, what I would say to them is that with me what it was that I thought I'd be criticized a lot. I just want them to know that it's not as bad as you would think. You don't criticize as much. More people want to be friends with you and you make more friends and become more open with you. Oh wow, so it's like popular after the movie. Like you become the celebrity. So Kobe, for you, what's next? Do you think, because you said you did theatre arts. So is this something that you want to, a path you want to continue on? Acting for sure. I love acting. I love being on stage. Being in a movie, maybe not so much. I'm also extremely shy. And being in the public eye, that's kind of hard for me. People coming up to me and asking me, are you in a movie or recognizing me from something, I tend to shy away. But my problem with that is my career choice is... But you do the theatre, so you're on stage and you have no cut? Yeah, I always said I like being in a play because for two weeks you hear about it and then it's done. I'm always going to be in people's homes when I'm 75 years old. On that note, we have to take a break. When we come back, we're going to speak to Matherin some more and speak about the UK experience. There are four basic rules to developing and maintaining good oral health. Brushing after meals and before going to bed, flossing at least once for the day, eating the right foods and visiting the dentist regularly. Remember, you won't keep those smiles for the next years. A message from the dental department of the Ministry of Health and this station. Okay, welcome back. And we're still talking Shantae's world and now Mrs. Immanuel is back on stage, but we're also joined by Matthew Melcher. Before we get into Matthew's group, I want to bring up the fact that part of it was done in the UK. That is quite an expensive undertaking as one might imagine. So what kind of support did you receive? Did you receive institutional support from government? Did you receive, and then we'll talk about the support you received from Mr. Melcher. Yeah, thanks. I must confess that if it had not been for the government, we would not have been where we are right now. One of the things I always keep saying to myself, I never envisioned it would have been such an expensive project. This is a high-budget film. $667,000. Well, I mean, for the big countries, America and the UK, that's not money. But for us, you understand much more than that. So we worked extremely hard to cut down on costs. Most times, I would wake up in the morning, at one o'clock in the morning, to cook for my crew and my team. That was sacrificial. Also, spending the night writing the novel as well. And as I said previously, we had to make up for quite a few things or sacrifice so that we could make it a reality. But when it comes to, well, locally, I must thank Honorable Fortuna Bellrose because she remained with us throughout the journey. She was always there, always encouraging and always attentive to our needs. And the government helped as much as possible. And we have still requested some more help because what we wanted this film to be, it's not just inclusion. We are embracing the Caribbean. And it is not just entertainment. It is our culture, our history. And we went all out to ensure that we help preserve and conserve that aspect of our Caribbean life and culture. So let's rig in Mr. Melcher. And how did his assistants help you? Because you're from the UK and you're from a group friends of St. Lucia. Correct. So you were also an actor in the movie. But tell us how you and Matthew met up and she has spoken about the assistants that she received from you. So just give us a little insight. Well, through the charity back in the UK, Friends of St. Lucia Clubs International. Tell us a little bit about that charity. Oh, well, basically, this is a new charity with a branch of solutions in the UK. And basically what we aim in today is to create a charity franchise where in the next few years we encourage people from around the world to form branches of Friends of St. Lucia so they can all work together by identifying various projects here on the island working together with established branches here in the UK. So in the UK, one of my members happened to be a relative of the assistant director and I think also the director as well. And they have been talking without my knowledge and I keep a lot of the meetings at my venue in the UK. And it was closer to the, just before April, this member approached me and said, Matthew, there's a group from St. Lucia who's working on this project. They would need some place to live. And I have access to a big six bedroom house in the UK. So she said to me, it would be wonderful if you could think about helping them. And for me it was a natural thing to do because when you have a project like this in St. Lucia, I was also given a backdrop information about what they have done before. So for me it was an easy decision to say yes, the place is available. And I contacted Miss Matherin Senolator. But did I also see that you are a leader actor? I'm not sure myself to be honest with you. I have never done anything quite like it. Never imagined. And so was that experience like it was a new experience and how were you convinced or what about the story? I wasn't convinced, that's the thing. Matherin convinced you? I do remember when I first spoke to Matherin. She just mentioned to me, I remember that day when I called her and said, hey, are you still coming? Because I was told about it but I never heard anything further. Because I was making plans to visit Senolator times. I wanted to make my arrangements. And then I spoke to her and she disclosed that she had just spoken to someone who said she'd be very lucky if she found someone in the UK to give them any form of assistance in terms of free accommodation. And at the very same time, I called to say the place is available. And that's why she referenced the miracle that she mentioned a while ago. So that was the first contact. But during the talk with her, she hinted, oh, by the way... That's the way! Exactly, yes. I'm looking at you and your accent. And I wasn't convinced. So I just brushed it aside. I said, nope, I have the place for you. That's fantastic. When a group came up, she also tried to help me to do some rehearsals. And I wasn't buying it because I wasn't convinced. You're right. And until the moment when I realized she was serious about me participating. And I decided, okay, well, let's just do it. Right. And before we have to go to close, just the fact that this is a film about the Windrush generation, it was filmed in the UK. How does it really market for your film? And in what way do you think you can export your film to the UK or get an audience in the UK? Well, currently I'm thinking that we already have an established audience. Because it's their story, you know? And I think they will appreciate it. As I said before, we put everything that we have into it, our time, our energy. Most of the actors did a superb job. I cannot think... I recall one actor now at this point in time who didn't do their role well enough. And so we anticipate a great film. Just being able to do a feature film that is quite an undertaking. And to be able to do a film now in the UK and signature, what kind of advice would you give to a filmmaker, maybe not just a filmmaker, a musician, to somebody who's creative in a very tough industry, what kind of advice would you give to them? As I said previously, if you do nothing, nothing will happen. Secondly, you don't listen to the negative vibes. You just move on. As I said before, I never thought for a moment that it would not happen. I just didn't know how. And it just happened that Mr. Melcher called me that day and he said, yes, somebody told him and whatever, and he's willing to help. And he became the venue for it to happen. So even if he had not, I still believe that some other channel would have opened, another door would have opened. And that's how I look at it, but I'm happy we did because he's a wonderful gentleman. He walked the path with us. He walked the walk. He talked to the talk. He was always very cordial, very nice. And up to this date, we have adopted him as our own. So I think hopefully the next time we have you on here, it will be to see the movies done. It's ready in the cinemas. We're encouraging people to go out to see it. So that's hopefully the next time we see you. This is what will be discussed. So I want to thank you and the entire Chante's World family for joining us at the GIS Studios for this. And so thanks for joining us, guys. And hopefully we'll be back with Mrs. Matlin Emmanuel very soon.