‘At the time I met Franco Rosso, the director, I was a freelancing journalist but Franco had already made two controversial documentaries about the Mangrove Nine and Linton Kwesi Johnson so when he offered me the chance to put together a drama about black youth and sound systems in South London I jumped at the chance. We worked on and off for two years on it, constantly checking and re-checking our detail and dialogue with our sound system friends and then it took us another 3 years to raise a cut-back, threadbare budget. Back then no one wanted to finance a film that had a 95% black cast with zero marquee names’