BFM

The Missing Monty by Monika Baker

BFM gives due credit to the originator of the idea for The Full Monty

There is still a murmur as to why the most successful film in the UK to date, The Full Monty, did not acknowledge or credit Paul Bucknor, the Black British filmmaker and author of the film's original idea. The film still enjoys international sales, not including video sales of Ł160m and is still grossing.

The phenomenal success of the film is now folklore with anecdotal stories circulating as to how U.S. audiences, not normally familiar with the term, have found a new catch phrase in the title. Perhaps they find it a more humorous and less threatening phrase, than Arnie's, 'I'll be back'. TFM's appeal has moved beyond its creators or budget and stands alone as a record breaking achievement for the small independent film sector.

A busy, yet sanguine Paul Bucknor,spoke to BFM after the euphoria of the Hollywood Oscars. He keenly explained that he understood misconceptions regarding the lack of publicity or direct association to himself vis-ŕ-vis the film. His accreditation, or lack of it, was due partially to the fact that he avoids giving interviews, and therefore failed to make his creative and professional involvement in the film clear.

Paul Bucknor's inspirational beam of light for The Full Monty came after he saw a poster advertising 'Satisfaction' the five black male stripper's act and a gem of an idea developed into a script proposal. The title came from a session of brainstorming at a production meeting. Seen as the all black version of the Chippendales, which, it could be argued, contests the essence of the pure idea, it could be viewed therefore as challenging its authenticity. But as stripping is the hook and not the central theme of the film, this presents a weak challenge to the author of the original idea and can be easily dismissed.

The original idea was strong and attractive enough to solicit interest by Uberto Pasolini, an executive producer at Twentieth Century Fox. Bucknor had ignored the lottery fund, BFI or television, the usual investors in most British film makers' first feature, heading instead for the open seas of Hollywood.

Giving up creative control was the deal, but did not rule out having a direct involvement in the selection of the script writer, Simon Beaufoy whose script had been passed on by Pasolini. Further involvement included the development of some of the characters, such as the introduction of "Horse's" (Paul Barber) extended family in a scene, as a concession to having more black faces on the screen. Given the contractual agreement of no creative control and a joint co-producer title-credit, (Bucknor shares this with Polly Leys), this was clearly an indication to his authorship of the original idea.

TFM's unprecedented success could not have been predicted and with hindsight everyone involved with the film, except arguably the financial investors, would have negotiated better deals for themselves. The process of developing a film to delivery and distribution is a long and hazardous road with many pitfalls, possibly more so for a first feature. Paul Bucknor negotiated the best deal in the circumstances, "I am very happy, everyone is thrilled" he has said.

Bucknor's official credit is joint co-producer, which in the hierarchy of film credits is not usually highlighted. What sets this scenario apart from the norm is the astonishing success of the film which is as much based on the purity of the original idea as on the strong script executed brilliantly by cast and director.

Paul Bucknor is now in discussions with the impresario Michael White on his next project, a drama based in Jamaica. BFM looks forward to hearing more about this project in due course.




The Missing Monty Editorial Finance: Government and film industry recommends big shake up The "N" word: Who shot the code? bfm gives credit to the organiser of the idea for the Full Monty Stephen Bourne looks at the 'secret' history of black Actors in British cinema (c)Black Filmmaker Publications 1998: All right reserved			The Missing Monty by Monika Baker BFM gives due credit to the originator of the idea for The Full Monty There is still a murmur as to why the most successful film in the UK to date, The Full Monty, did not acknowledge or credit Paul Bucknor, the Black British filmmaker and author of the film's original idea. The film still enjoys international sales, not including video sales of Ł160m and is still grossing. The phenomenal success of the film is now folklore with anecdotal stories circulating as to how U.S. audiences, not normally familiar with the term, have found a new catch phrase in the title. Perhaps they find it a more humorous and less threatening phrase, than Arnie's, 'I'll be back'. TFM's appeal has moved beyond its creators or budget and stands alone as a record breaking achievement for the small independent film sector. A busy, yet sanguine Paul Bucknor,spoke to BFM after the euphoria of the Hollywood Oscars. He keenly explained that he understood misconceptions regarding the lack of publicity or direct association to himself vis-ŕ-vis the film. His accreditation, or lack of it, was due partially to the fact that he avoids giving interviews, and therefore failed to make his creative and professional involvement in the film clear. Paul Bucknor's inspirational beam of light for The Full Monty came after he saw a poster advertising 'Satisfaction' the five black male stripper's act and a gem of an idea developed into a script proposal. The title came from a session of brainstorming at a production meeting. Seen as the all black version of the Chippendales, which, it could be argued, contests the essence of the pure idea, it could be viewed therefore as challenging its authenticity. But as stripping is the hook and not the central theme of the film, this presents a weak challenge to the author of the original idea and can be easily dismissed. The original idea was strong and attractive enough to solicit interest by Uberto Pasolini, an executive producer at Twentieth Century Fox. Bucknor had ignored the lottery fund, BFI or television, the usual investors in most British film makers' first feature, heading instead for the open seas of Hollywood. Giving up creative control was the deal, but did not rule out having a direct involvement in the selection of the script writer, Simon Beaufoy whose script had been passed on by Pasolini. Further involvement included the development of some of the characters, such as the introduction of "Horse's" (Paul Barber) extended family in a scene, as a concession to having more black faces on the screen. Given the contractual agreement of no creative control and a joint co-producer title-credit, (Bucknor shares this with Polly Leys), this was clearly an indication to his authorship of the original idea. TFM's unprecedented success could not have been predicted and with hindsight everyone involved with the film, except arguably the financial investors, would have negotiated better deals for themselves. The process of developing a film to delivery and distribution is a long and hazardous road with many pitfalls, possibly more so for a first feature. Paul Bucknor negotiated the best deal in the circumstances, "I am very happy, everyone is thrilled" he has said. Bucknor's official credit is joint co-producer, which in the hierarchy of film credits is not usually highlighted. What sets this scenario apart from the norm is the astonishing success of the film which is as much based on the purity of the original idea as on the strong script executed brilliantly by cast and director. Paul Bucknor is now in discussions with the impresario Michael White on his next project, a drama based in Jamaica. BFM looks forward to hearing more about this project in due course. All rights reserved (c)BFM 1998