top of page



Our key ambition for this project is to create a moving and thought-provoking film, that explores the complex and nuanced emotions and decisions.

The project draws inspiration in its subject matter and visual language from films like Kidulthood (2006), Blue Story (2019), Boyz n the Hood (1991), and Moonlight (2016). This film presents two viewpoints; the elders, who want to leave a life of crime behind but are trapped in its lifestyle, and the youth, who are charging into following choices the elders had taken before them.

The characters and situations act as mirrors, giving the project parallels that allow the audience to not only understand the decisions that have led to the olders character choices but also allow foresight for the audience to know what the youth have at stake if different actions are not made.


                                                    With the visual landscape of the film, we want to be true to the character’s milieu; council flats, markets, back alleys, yes!


We have no interest in leaning towards stereotypes and wish to embrace the changing world that is happening around us.


The landscape is changing and becoming more and more gentrified.


Modern houses sprouting up around ‘rough’ neighborhoods, adding to the claustrophobia that our characters would feel. Forests and parks that juxtapose the pavement also add to the dynamic reality we want to showcase.

We intend to portray the beauty that our characters are chasing.


As for the colour pallet, we have no intention of using cold blues and greys that are often used in London's 'crime dramas’. Instead, we will be utilizing warmer ‘sun kissed’ tones, giving the world a more dreamlike, summer feel. These will be juxtaposed with twilight, purple hues that will be used for the night shots, creating deeper narrative cues, allowing us to tell a vibrantly dark story.


The sound design for the film will be designed to deliver a longing soundscape. It will utilise a variety of different sounds that blend to express the varied cultures that reside in these London communities.


Music is a key part of one of the story's plotlines and even though we want to embrace Rap and Hip-Hop tracks into these scenes, for the most part, we feel that the film deserves an orchestral score.


Along with the visuals, we envisage the sound design to articulate intricate layers of the story and represent how a character, scene, or moment feels without a word being said.


The story of the film unfolds in a linear structure following the main character’s (Kingsy) progression.

The viewpoint in the story jumps from Kingsy to his younger brother Reece as we explore the arcs of not only the olders living in the Miles (Kingsy) but of the youngers (Reece) too.


The pace of the film is a slow burner that gradually rises to the climatic end.

The poignant tone of the film matches this slow rhythm as the mood shifts to growing tensions, as characters balance consequences when making life-changing decisions.


The desired aspect ratio is 2.39:1,

                                                    which will be achieved through the use of anamorphic lenses.


The reason for this choice is to create an immersive yet claustrophobic experience, highlighting the gentrification in the character’s milieu.


The wide frame represents the breadth of the world whilst the anamorphic lens creates a soft, unclear vignette, stamping on the character’s feeling of solitude and seclusion from society. This leaves our characters adrift in the space, unable to fill it alone.


For the most part, the film will be shot on wide-angle, prime lenses at 14mm - 35mm.


For the post-production of the film, our focus is to continue to develop the atmosphere by using a variety of filmmaking techniques, such as match cuts.


These will allow the film to progress more seamlessly and elegantly.

The characters in this film are dealing with their own decisions and story threads. We want to guide the audience, building them across the two main storylines creating a simultaneous narrative.

A story like this needs to be allowed time,

                                                                       as rushing through moments and scenes can ruin the impactfulness of the overall message. The film will have a balance between scenes that hold shots and build upon the emotion of the scene, juxtaposed with scenes that cut back and forth like the heist scene. This will allow the film and the different events to each have their own distinctive expressions.



We believe that this story needs to be told and can lead to more stories and creatives from minority and/or less privileged backgrounds being able to make their way into cinemas, changing the landscape for the better.


Runnin Da Miles is not just a film but it's an opportunity for creatives of all backgrounds to get a foot in the industry so that one day they can tell their own story with us. Films are nothing without the support from the community and we know we have a story that many will enjoy.


You can support our film by sharing our website and following our social media pages.

And you can do more by DONATING or INVESTING in the project. 

Our current perks for donations include t-shirts, posters, executive credits, and Runnin Da Miles novel signed by Ezed Williams himself. If we get to our final stage we will have premier tickets to giveaway!


bottom of page