This is probably the most important post to date. For years many people know of me as a filmmaker. The man behind the King of the Beats series, The Turntable Trixters and the Paul C Film.

Before any of that, I started a project titled ‘The Men & Their Music’. This film got shelved. Years later after getting separated I embarked on a new journey, starting my project ‘Looking of the Perfect Beat’. I’ve counted already 9 trips to NYC just on this Project.

In 2015 I had completed a rough of the film that at the time I felt was ok, but after taking it to NYC a few of the artists I showed asked me to use some of the footage I filmed of them almost 20 years before.

I didn’t ever work in a conventional way. When I first started going to NYC I rolled up with a camera running around the city without much of plan. Over the years I had won and earned the respect of my peers in the states who understood what I was about and saw themselves my work ethic.

I didn’t ask for funding I never asked for help, but I remember clearly many people telling me I couldn’t do this. They felt I never had the skills. How’s this factory worker think he can make a movie. That motivated me, and because I knew that the artists believed in me that I would go make this film.

I funded this on factory wages in the midlands. I have fort through many battles internally and externally, lived on beans and toast for many years, deprived my self of holidays and weekends away determined to one day get this film done.

In 2013 I did release a trailer of what was the film at the time, but over the years it has changed dramatically.

For the last 16 years, I have been working 3 shifts in a factory. That I only get 2 weeks to leave I can book my self. So time for me is very precious. I would go to NYC to film.

We are now in 2020, and in this year we endure this COVID Pandemic. Like many of the Nation I was put on to Furlough. My first reaction was 2 weeks off I’m going to work on my film. This turned into 13 weeks, which then turned into a Redundancy.

Over the period I had no idea I would not be returning to work, So I buried my head into my film I would start editing from 4 am until about 7pm every day where discovering Zoom I would do sessions with the likes Jay King, Andy Higgs, Force, Coombes, Ray West, Keith, Cutmaster Swift, A.dee, Xzibet Blak, Dexter, and Luis Tineo ,the Legion,DJ Disk Johnny Juice, Cassandra, Donna She Rock, Gary Devastate, Sparkii, Rhettmatic, Neil Armstrong Marc Davis, Dug Infinate, Casanova Rud, Finley Bradford and a number of others where we would review the day’s edits or the film.

We would discuss the scenes and how to improve the film. We identified what was missing and looked towards who needs to be contacted to give the film what it’s missing.

This went on every single day for a minimum of 9 weeks solid. To a point, I just continued my self whilst learning about me losing my job.

One of the questions that kept coming up was how is this film going to be released. There are over 20 years of film in it. I have made two parts both 2.5 hours long. I have considered turning it to episodes. Which in the past I was against but seeing how streaming has evolved especially in this period it logically makes perfect sense to make it into a series.

I had booked a ticket to NYC leaving May 1^st. Which of course was canceled by the airline. So I have a credit on that ticket. Jazzy Jay reached out for a screening of the film after we discussed my situation and that both him and his wife Broadie’s got my back to return to NYC to tie up the film.

In the period I also let it be known I was looking for someone to come in and do an audio mix. I’m very grateful to Elliot Vaughan for rising to the Task. He is a very experienced engineer who has worked on many broadcast projects in the past.

Within the first 3 weeks of the Covid period, I produced 2 new trailers. The day I completed the first trailer was the first day I began to hear of friends passing on. My dear friend Micheal Lewington who lived across the street from my parents who the first family we got to know when we arrived here. He was a man that put me onto so many good Jazz records. Also, Passing was the son of my good friend Grand Master Caz who is in my film. That was the beginning. In those 8 weeks I lost 3 family members, (RIP my mother in law Elana Antonio) and 5 friends including TY.

When that happens and it all happens at once. It only makes you question your own mortality. This Covid is serious and it can be any one of us. This is one of the main reasons I chose to put this trailer out. Time is very precious and I must get this film done and out just in case it’s my turn next. If I don’t do this then I would never have achieved what I wanted.

I had to get in contact with Grand Master Caz and Preemo to make sure they were on board and still remember me as they were filmed many years ago. Maybe they forgot me. I was delighted and overwhelmed that they still believed in me and remembered me. Granting me the permission to go ahead with the film.

I have gone through some battles to make this film but honestly, I couldn’t have done it without the support of my family, close friends, and the many Artists who always supported me, although at times I feel alone. I would honestly not be here if it was not for you. For 2 years I woke up every morning wanting to die but having this, keeping myself busy making my music, helping others, working on my film does not give me the time to think of the bad things.

I would like to present one trailer. So that you can see what is in the making. Thank you to everyone that really supported my work.

I did not film the drone shots.  Id love to get them done though.