Rich Peppiatt mentions that he made his award-winning film ‘Kneecap‘ using just an iPhone and £50, stating, ‘If I had these resources, I could create this movie.’
The biographical movie about the Belfast-based hip-hop group of Irish origin, featuring Michael Fassbender and others, is not polished like an iPhone video but has made a significant impact on the independent film industry.
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The biopic on the Irish hip-hop trio from Belfast, starring Michael Fassbender, lacks the sleekness of an iPhone video yet has caused quite a stir in the indie film world.
Peppiatt’s Irish-language film, filled with strong language, drug references, and tricky baton twirling, garnered attention at the British Independent Film Awards in December, and on Wednesday, received six BAFTA nominations, including for Best British Film and Outstanding Debut by a British writer, director, or producer. This makes Kneecap the third most nominated debut film ever by the British Academy, and Peppiatt the most nominated first-time director in BAFTA history. It’s no shock that the movie is also Ireland’s entry for the Best International Feature Film category at this year’s Oscars.
Peppiatt has had a diverse career, including journalism, stand-up comedy, and advertising leadership (“I’ve lived multiple lives”). When he encountered band members Naoise Ó Cairealláin, Liam Óg Ó Hannaidh, and J.J. Ó Dochartaigh in the project, a spark ignited within him. “I believe that with Kneecap, people could see my genuine passion,” Peppiatt expressed to The Hollywood Reporter following his BAFTA win. “That I was serious about this time.
For several years, the filmmaker has tried his hand at various projects within the industry without success, but the idea behind “Kneecap” (eventually purchased by Sony) was different. It resonated with everyone involved as a unique, compelling tale deeply rooted in Ireland’s political terrain and offering empowerment to those who found themselves represented within it.
The movie, titled “Kneecap“, breaks away from the conventional music biopic genre, often criticized as “tired”. Unlike other films that reminisce fondly and typically in a sanitized manner about the career of a famous artist, this film portrays an entirely different scenario. Instead, it tells the story of obscure figures, who interestingly play their own characters, in a raw, chaotic narrative that is anything but sanitized.
The film chronicles the journey of three rap artists climbing the ranks in Belfast, Northern Ireland, leaving an impact (comparable to waves) wherever they move. For the first time, locals have been introduced to a high-quality movie portraying three musicians rapping in their local dialect. This has carried significant weight for the residents, as well as the director who relocated to Belfast seven years ago and now calls it home.
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The story revolves around three up-and-coming rappers making a splash (or stirring up ripples) in Belfast, Northern Ireland. For the first time, residents have been treated to a well-crafted film about local musicians rapping in their native tongue. This has resonated deeply with both the people and the director, who chose to settle in Belfast seven years ago.
About a year following his relocation, he stumbled upon a local band performing live. “On stage, they possessed an authentic, fiery energy,” Peppiatt reminisces. “In a world that’s often contrived and sanitized, especially when it comes to music, they stood out. I felt confident enough to wager that this group would rise in popularity and evolve, and I wanted to be part of their growth.
As a daring filmmaker embarking on a project, I find myself eagerly sharing my journey with you all. I’ve got Fassbender on board to play Arlo, an Irish Republican Army (IRA) member, in a movie set against Northern Ireland’s tense political landscape – quite the challenge for an Englishman like me! The goal here is to put forth the most audacious, gutsy take on ‘Kneecap’ possible. I can’t help but ponder, what if I don’t push boundaries enough and end up regretting it six months down the line when the world has merely shrugged its shoulders and left me thinking, “What if I had truly swung for the fences?
Rich, congratulations are in order. You’ve picked up six BAFTA nominations this week.
It’s been quite some time since the movie was first released, and given that I’ve never experienced this before, a year has passed and I’m still deeply immersed in promoting it. Tomorrow, I’ll be heading to the German premiere. Interestingly, they’ve dubbed [Kneecap] into German. A film focusing on the Irish language, now voiced in German. Frankly, I’m curious about how this will play out. However, we’re surpassing our initial expectations significantly. Anyone who creates a low-budget independent film and assumes they’ll be part of BAFTA and Oscar discussions is being overly confident. We’re just thrilled that the movie has connected with people as it has.
How was it receiving the news of your BAFTA nominations?
I strive to maintain a moderate outlook on life, neither getting overly enthusiastic nor overly discouraged about things. It’s been a positive turn of events for me, even before the movie debuted at Sundance, or during its development process. Previously, I’ve had films that didn’t make it past the final stage, but Kneecap has always seemed to be fortunate. Every time we approached potential financiers, they gave us a go-ahead signal, one after another. This is something I have never encountered before. I would constantly verify: ‘Did you really say yes?’
What was it about this project, this band, that drew you in?
I find the concept of a band portraying themselves in a music biopic quite unconventional. While the genre has its charm, it often appears overused and clichéd, focusing on the career retrospective of someone who is either deceased or nearing the end of their career. It seems as though the story has been told countless times before. I began to wonder if there was a unique approach to creating a music biopic, perhaps by following a band during their rise to success in real-time instead. That’s when I discovered Kneecap, and my instinct was that they could be the perfect fit for such an innovative take on the genre.
Back when I first encountered Kneecap, they were still a small-time band in the local scene – most of them don’t make it past this stage. However, there was an undeniable spark about them that set them apart from the rest. They wore their politics on their sleeves, and their authenticity was raw and unfiltered. It was as if I had stumbled upon a long-lost gem like Rage Against the Machine in the ’90s.
In today’s world where everything seems overly manufactured and sanitized, they stood out like a breath of fresh air. And I found myself thinking, “I’m taking this chance; these guys are destined for greatness, and I want to witness their rise.
Was it straightforward to share that idea with financially well-off individuals, given that, by general industry norms, it appears to have been a relatively simple process to produce it.
Frankly, I’m still amazed that investors supported the project given my lack of extensive filmmaking experience. However, someone wisely pointed out that success in this field often revolves around identifying and nurturing talent. And that’s exactly what happened with Kneecap. Our bond transcends the typical director-actor relationship; they’re practically family to me. They frequent my home, they’ve even cared for my children. Over six years, we’ve built a strong trust that undoubtedly influences their performances. When I ask them to do something, they trust in my guidance.
Were there any concerns or risks you decided not to take?
As a devoted fan, I can’t help but empathize with their struggle. At times, they questioned themselves, wondering if they were making the right choices as a band, fearing potential failure and ridicule. Existential doubts and challenging discussions were commonplace, yet they persevered through it all.
The narrative surrounding Naoise’s relationship with his mother resonated deeply because it echoed genuine experiences. Tragically, during the scriptwriting process, his mother took her own life. Although I respect their confidentiality, it’s worth mentioning that this was the most difficult hurdle to overcome.
I am so sorry to hear that. How awful.
Initially, everyone might perceive our project as a light-hearted affair, but behind the scenes, we were nearly done with the script when unexpected events occurred. This led to some intense discussions about whether to alter the script or abandon the film altogether. Naoise swiftly responded, “I believe it’s the most respectful way to honor her, as this is reality.” Now consider the challenge of acting alongside Simone Kirby, who portrays your very own mother, and reliving the emotional turmoil experienced in real life. The courage displayed by Naoise was truly remarkable. Some viewers might think our film was merely a fun-filled production, but we took it extremely seriously. As someone who meticulously plans things out, I can assure you that there were over 1000 storyboards for the movie. To achieve the raw, spontaneous feel and spirit of the film required extensive, tedious planning work.
When you say that talent attracts financiers, I’m curious if it made things smoother when you managed to secure Michael Fassbender for the role. Could you share how his casting was decided upon?
The hour was incredibly late. It’s often thought that we secured Michael, and then he helped obtain approval for the film because he was connected to it. However, this isn’t accurate. The film was already in development, and we were searching for an actor who could speak Irish for the role. As many directors do, you consider, ‘Who are the most well-known actors I might be able to find for this?’ There aren’t many top-tier Irish actors who can speak Irish, and Michael was one of them. Michael had portrayed Bobby Sands in Steve McQueen’s 2008 film, Hunger, which is a highly iconic film for the people of Belfast, and there’s a great deal of affection for Michael. Given this, it seemed logical to pursue him first.
It’s often assumed that actors are hard to secure for small projects, but in truth, they seek material that resonates with them emotionally and offers them an opportunity to contribute something unique. Unfortunately, such meaningful content is scarce in average productions. We managed to catch Michael during a significant phase of his career; he had been racing cars for a while and was beginning to book more acting roles. For Michael, portraying Bobby Sands was arguably his most cherished role – the one with which he felt the deepest connection. In our conversation, we discussed the possibility of him reprising a role as a character who was in a cell near Bobby Sands, yet did not participate in the hunger strike. This role would tap into Arlo’s anger and obsession with the cause, stemming from a sense of guilt over not making the ultimate sacrifice.
I must admit, I initially thought you were from Northern Ireland. However, after watching the film and conducting further research, I discovered that you’re actually English. Given this movie touches on political topics and has complexities related to Irish history and The Troubles, it’s intriguing to me how you’ve developed such expertise in the subject matter. I’m eager to learn more about your background and insights.
You’re absolutely correct. I spent my childhood in Staines, West London, which is near Heathrow. In school, we learned about Irish history before moving on to the Tudors or similar topics. The lesson often included a brief mention of terrorism and how the British government handled it, but as a child, I didn’t give it much thought. It wasn’t until my mid-20s that I visited Ireland for the first time, when I met a girl from Belfast. We began dating, and she was from Andytown, deep within West Belfast. Visiting her family, which included three tall brothers, was quite an experience. [Laughs] Needless to say, we only held hands during those visits.
It was an enlightening experience for me. It opened my eyes wide. Suddenly, it all clicked – oh, now I understand. Goodness gracious, I hadn’t realized we were considered the ‘bad guys.’ My father-in-law and his family have faced some of the toughest hardships during the Troubles. They endured immense suffering at the hands of the British Empire. And yet, they welcomed me into their family without any prejudice, considering me as an individual rather than a representative of the British state. Given their past, I would have expected it to be challenging – hearing that accent in my home, knowing that they were the ones causing distress, breaking down doors, and brandishing weapons against them.
You’re an honorary Belfastian.
Ever since I settled in Belfast, around seven years ago when I started my family here, I’ve always felt a warm welcome in West Belfast, the predominantly Republican neighborhood. I’ve always found the pubs friendly and inviting, which I believe is partly due to my familial ties there. It’s not like I’m just some random English guy wandering around. However, there seems to be a misconception that if you’re English, you’ll face hostility in these Republican communities without having gone through the same journey as me.
The same goes for Kneecap – people assume they’re hardcore Republican rappers who hate Brits. But in reality, they aren’t as hostile as people think. In fact, they worked with one for six years!
The distinction lies between the British government, the British Empire, and their historical impact – not just in Ireland, but globally – and the ordinary British people. I feel incredibly grateful – Belfast has been very generous to me. It’s where my family resides, making it my home. To create a film that primarily resonates with the people of Belfast, especially those from West Belfast, and to walk down the street being recognized and welcomed into pubs for a drink, is truly rewarding. It’s heartening when the audience recognizes that the film authentically represents them, as it should. For a filmmaker, this authentic connection surpasses the value of accolades.
For six years, you’ve been working with these three lads. Could you share some insights on the choice to feature Liam, Naoise, and J.J., playing themselves in this project?
Initially, there was no plan to approach it differently. One reason for this was due to the fact that if you were to cast Barry Keoghan in a band that wasn’t well-known, he is more recognized than the group itself. Conceptually, I believe it wouldn’t have been successful, wouldn’t you agree? If we were dealing with an unrecognized band, I felt it was necessary to help them develop their acting skills. That was always a challenge: could we pull it off? But during that first year, it was essentially a very extended audition process. It involved socializing, drinking, and getting to know each other, all in an effort to gather compelling stories. Stories shared after a few drinks were different from those shared at 6 a.m. after many drinks. I needed those stories, so there were plenty of late nights and parties involved. In other words, the first year was like one long audition, filled with socializing, drinking, and storytelling.
I took the time to learn their language, Irish – it was quite significant for me. I attended evening classes. I believe they were touched by my efforts to immerse myself in their culture. In their company, when they converse in Irish, you become aware that they switch languages to speak English with you. It makes you feel like an intrusion. Yet, though I’m not fully fluent, I think they value my attempts at least being able to ask something basic like ‘Who needs a drink?’ in their native tongue.
The film “Kneecap” reflects the political climate in West Belfast, yet it also delves into the importance and validity of preserving the Irish language within Northern Ireland.
When I initially encountered Kneecap, they were performing in a venue called Limelight, located in Belfast. On stage, they had an intense, captivating energy. However, what truly left an impression on me was the sight of around 800 young individuals in the audience, who knew every line of their Irish rap by heart and enthusiastically sang along. This discovery of a dynamic, thriving Irish language community in a region that is, regardless of its legal status, part of the United Kingdom, was quite intriguing to me. It stood in stark contrast to the political landscape: the prolonged struggle for an Irish language act that had been delayed and shuffled between various departments over many years. The striking difference between the grassroots level and the political sphere seemed fascinating to me, as a former journalist.
I was wondering if we could discuss your background as a journalist. Do you feel that aspect of yourself enhances, or perhaps poses challenges, in your role as a director?
Journalism is essentially about storytelling, isn’t it? That’s its core essence. I find myself often drawn to real-life narratives. Things that have a hint of authenticity about them. Maybe that’s the journalist in me. Following journalism, I dabbled in stand-up comedy. Later, I established a production company that specialized in advertising and branded content. Yet, throughout my diverse experiences, the ultimate goal was always what I am pursuing now. I was constantly striving to move towards it. At 34, I told myself that by the time I’m 40, I need to complete my first narrative feature film. If I don’t achieve this by then, I feared it might never happen.
As a passionate enthusiast, I firmly believe that my resolve was evident in every glance – with Kneecap, I made it crystal clear that this project wasn’t just an option; it was a necessity. No matter the obstacles, I was undeterred and committed to bringing this film to life. If it took an iPhone and fifty pounds to get started, so be it – the movie was happening. Once the funding came through, my determination intensified. I was adamant about creating a film that mirrored not just my vision, but also my passion for authenticity, rawness, and taking risks. It was essential to me that this project remained true to who I am as a filmmaker, even if it meant embracing the possibility of failure. After all, I could accept the idea of an uninterested audience, but I couldn’t abide by compromising my vision and allowing the film to lose its unique, edgy qualities. The risk we took has certainly paid off, and we are overjoyed with the success we’ve achieved so far.
Beyond repayment, it seems more accurate to describe it as an enjoyable experience. How about the creative process behind Kneecap – were there any disagreements or conflicts among you all?
Creating a movie is similar to sprinting through a vibrant field of poppies – we’re juggling numerous tasks in a limited timeframe with scarce resources. Challenges and stressors are always present. However, I formed an exceptional bond with our cinematographer Ryan Kernaghan, who I hadn’t collaborated with previously. Taking the risk to work with an Irish Director of Photography (DOP) instead of someone from London was crucial for me. Ryan not only accepted but thrived in the chaos, and I believe no other DOP could have crafted the film we did. Despite obstacles that arose during production, most team members remain friends to this day. [Laughs.] Not everyone, though; I’ll keep quiet about those exceptions.
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2025-01-18 02:56