David Mackenzie recently directed Starred Up, which provides a dramatic depiction of prison life. This project is different from past films that Mackenzie has helmed in that he took a grittier, more realistic approach to directing it. “I think the material lent itself to realism in a way that other films that I’ve done haven’t,” Mackenzie told uInterview exclusively. “It’s a piece of fiction of course but it’s tuning into as much authenticity as it possibly can. All the way through, asking questions of authenticity and trying to make it connect to the reality was the intention, and that’s what we did.”

This notion demonstrates the stylistic differences between Mackenzie’s early films – most notably the dreamyYoung Adam starring Ewan McGregor – and his recent work. Mackenzie says that he really enjoys this style though. “I’ve never really gone that far down that realist process before, but I liked it so much that I think I’d like to carry on working in that way.”

Starred Up is based on experiences written about by Jonathan Asser when he volunteered as a therapist at the HM Prison Wandsworth in London. Continuing his explorations of the themes of rawness and realism, Mackenzie was attracted to Asser’s stories because he found that they dealt with these subjects. “I felt that there was something very personal, something very angry in the sense that it was very authentic and detailed, that was obviously there,” Mackenzie shared with uInterview exclusively. “So to take something that was very tough and sort of genre and really give it some heart and soul, that was something that we definitely worked to expand, but it was definitely in that raw form in the initial script.”

A large part of depicting this world accurately was the challenge of incorporating the slang used by the inmates in a natural way. “[The slang] was one of the initial challenges. The initial script had even more slang but in order to make the financers happy and have the audience understand what’s going on without having to revert to subtitling we had to soften the language a little bit.” Mackenzie told uInterview. However, Mackenzie and Asser knew that they would not be doing the film justice if they did not make an effort to depict the real language used by the film’s prisoners. “But it was very important to me and to Jonathan to keep as much of it as possible. It was a balancing act between understanding what people were saying and allowing that real language to come alive, which is really part of the pleasure of the dialogue.”

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Q: What drew you to Jonathan Asser's screenplay? - Chelsea Regan

I felt that there was something very personal, something very angry in the sense that it was very authentic and detailed, that was obviously there. But there was also a chance within the material to explore the idea of a very hard world but with chinks of humanity, chinks of hope, chinks of positive things in this tough world. So to take something that was very tough and sort of genre and really give it some heart and soul, that was something that we definitely worked to expand but it was definitely in that raw form in the initial script.

Q: How was it watching Ben Mendelsohn and Rupert Friend interpret their characters? - Chelsea Regan

Ben and Rupert are both fantastic actors who both took on their characters like the rest of the characters, all in a sort of ensemble piece where you’re trying to create the reality of a world and you’ve got very strong characters, some strong actors, some of whom are more experienced than others. But everyone was all working together, and we were all trying to create this world and make things feel as real as possible and to understand the characters we were playing and the world we were playing. That’s what we were trying to do and hopefully we achieved it.

Q: What made you fully embrace realism in 'Starred Up?' - Chelsea Regan

I think the material lent itself to realism in a way that other films that I’ve done haven't, and it just seemed to me for this script I wanted to find a location that meant that we could make it as real as possible. So I found a really strong, real, former prison that wasn't really in use anymore but it was still in tact. And so, knowing that, and choosing to film in sequential order, and trying to surround ourselves with people who knew the world that we were trying to describe and putting all the elements together to make it feel as real as possible. It's a piece of fiction of course but it's tuning into as much authenticity as it possibly can. All the way through, asking questions of authenticity and trying to make it connect to the reality was the intention and that's what we did. I’ve never really gone that far down that realist process before, but I liked it so much that I think I’d like to carry on working in that way.

Q: Can you describe what it was like filming inside the prison? - Chelsea Regan

When you go into one of those places you realize how powerful the architecture is. Everything is very, very hard in those buildings. There’s no softness anywhere. The steel doors and the bars, and the walls and the floors, it's just very solid. The moment when you go there, it's impossible to not be affected by the atmosphere of it. Everyone turning up to work in the building is a long way down the line towards being able to make that thing come alive as a piece of realism because it's there, because it's the reality of how that system works. It's at least partly to do the architecture; that's how you channel people and you push them into places and that's how it works.

Q: Was it important to you to keep the obscure prison slang in the film's script? - Chelsea Regan

That was one of the initial challenges. The initial script had even more slang, but in order to make the financers happy and have the audience understand what's going on without having to revert to subtitling we had to soften the language a little bit. But it was very important to me and to Jonathan to keep as much of it as possible. It was a balancing act between understanding what people were saying and allowing that real language to come alive, which is really part of the pleasure of the dialogue. It's a really obscure language that you have to work your way through and listen and try to learn, which I think is really interesting.