Their initial plan to shake down Lethal Bizzle in a club’s toilets goes wrong in a particularly humiliating style. The film follows Riko (Deacon) and Kane (Zonzolo), two unlikely roadmen who need to come up with 15 grand, stat, to pay off debts. Hopefully, when this film comes out, I really do think it’s going to open up doors for. Adam and I always knew that if we were able to just get the script made,” he says of a project they’ve been working on for the best part of a decade, “people are gonna love it, because works in America. “In the UK, people like to play it very safe – they don’t want to try new things, they just want to stick to what works. “I’ve been doing comedy for a while and this is something that I’ve always really wanted ,” says Jazzie Zonzolo, Deacon’s co-writer and co-star. And backed by Paramount, who picked up the film’s distribution rights after its six-week shoot last year, it has the Hollywood horsepower to help it go the distance. Deacon’s aim is to reframe action comedies within a British context, inspired by films such as Rush Hour, Bad Boys and Beverly Hills Cop. It’s a film with as many fight scenes and explosions as there are punchlines – and as many eye-popping cameos, from Lethal Bizzle to Jennifer Saunders via multiple, frankly bonkers stars in between. It’s the follow-up to Anuvahood, Deacon’s 2011 goofball parody of gritty London-set gang dramas such as Kidulthood and Adulthood (both of which he also starred in), and for which he won the BAFTA Rising Star award (beating fellow nominees Tom Hiddleston, Eddie Redmayne, Chris Hemsworth and Chris O’Dowd).īut the sequel ups the ante, and then ups it some more. That pretty much sums up Sumotherhood’s mission statement. And so it’s important to get the fight sequences perfect.” ![]() “Because we don’t only want to have drama, we don’t only want to have comedy. “My thing was: how can we make this film stand out?” Deacon tells me between takes on a project he’s making in the corner of London in which he grew up. Turns out, the key to a great chase scene is to film it in short bursts – over and over again, all through the night. “Action,” shouts Sumotherhood ’s director, co-writer and star, Adam Deacon. ![]() Both men walk back down to the end of the street where they started, and prepare to do it all over again. The chase, which went on for a grand total of maybe 20 seconds, comes to an end. ![]() Blue lights illuminate the action, as a man legs it down an East London street, soon followed by a panting police officer. Night has fallen, the air is balmy and a scene is unfolding behind the art deco facade of Hackney Town Hall.
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