CREDITS FOR CASH BACK (dir. Sean Ellis)
CAST
Ben Sean Biggerstaff
SharonEmilia Fox
JenkinsStuart Goodwin
Barry Michael Dixon
Matt Michael Lambourne
Old LadyHatti Riemer
Young Ben Frank Hesketh
Frozen Girl 1Irene Bagach
Frozen Girl 2Christine Fuller
Deer GirlCelesta Hodge
Shampoo Girl 1Kinvara Balfour
Shampoo Girl 2Cherie Nichole Bradley
Swedish StudentHayley-Marie Coppin
Check-Out Counter WomanDaphne Guinness
CREW
Writer/DirectorSean Ellis
ProducerLene Bausager
Executive ProducerDaphne Guinness
Executive ProducerKai Lu Hsiung
Director of PhotographyAlex Barber
EditorDayn Williams
MusicRick Astley
Sound DesignerGraham Headicar
Production DesignerMorgan Kennedy
Production ManagerCarla Poole
Production CoordinatorWinnie Li
1st Assistant DirectorMarco Ciglia
Focus PullerWill Willis
Clapper LoaderEmma Hetherington
Clapper LoaderJeremy Fusco
Sound RecordistGiancarlo Dellapina
Boom OperatorTawa Dorowoju
GripNeil Houston
GripDarren Woods
GripTerry Chapman
GafferRichard Oxley
ElectricianAndy Duncan
Camera Car DriverJimmy Fisher
Game KeeperKia Handley
Make Up ArtistLouisa Murray
Make Up AssistantRussell Hudson
Art DirectorBen Irwin
Nude DrawingsDavid Downton
Video OperatorAdam Farley
RunnersNatascha Maksimovic
Tom Bunstead
Tom Howie
Jon Bonnici
Digital Film MasteringThe Moving Picture Company
ProducersBegona Lopez
Matthew Bristow
ColouristGiles Livesey
Max Horton
Online Film EditorsRichard Etchells
Thomas Urbye
Film ScanningKennedy Dawson
Melissa Agate
Johh Coulter
Film RecordingRicky Gausis
Lester Parker
Visual EffectsThe Moving Picture Company
Producer Chris Allen
Inferno ArtistsRichard McKeand
Andrew Zigouras
Nigel Mortimer
TitlesMatt Roach
Inferno OperatorAdam Grint
Sound Post ProductionBoom Ltd
Sound DesignerLee Walpole
Graham Headicar
Dubbing MixerStuart Hiliker
Foley ArtistColin Cooper
BIOGRAPHY
Sean Ellis started taking pictures when he was 11. Trained as a still life photographer, Sean moved to London from Brighton in 1994. Applying his knowledge of the still life and using it to light fashion models, Sean became one of the new generation of fashion photographers who were most sought-after in the late nineties.
Named as one of the top 10 photographers in the country by the Independent on Sunday, his work with magazines such as i-D, The Face, Arena, Arena Homme Plus, Visionaire, Dazed and Confused, Numero, French, British, Japanese and American Vogue, Harper’s Bazaar and Big magazine has often pushed the darker side of fashion photography with a style that has been described as ‘cinematic’. This led to a crossover with moving film, starting with his Brit Award winning All Saints video ‘Never Ever’ and commercials for Jean Paul Gaultier, Land Rover, Rimmel and O2.
In the past eight years Sean Ellis has photographed personalities such as Elton John, ‘Beat’ Takeshi Kitano, Trent Reznor, Kylie Minogue, Eric Bana, Stella McCartney, Air, Kosheen, Richard Ashcroft, and has collaborated with David Lynch on a series of fashion images which were published in Harper’s Bazaar.
‘A photograph everyday for a year’ was the idea behind his first published book ‘365 – A Year in Fashion’ which includes commercial and personal work taken during 1999.
Sean has written and directed two short films which were produced through Ridley Scott’s RSA Films. LEFT TURN (2001), a dark psychological horror film, and the recent CASHBACK(2004) a visually rich black comedy. CASHBACK has won “Best Short Film” at seven international film festivals, including Chicago and Tribeca, which render the film eligible for a 2006 Academy Award.
Sean is 34, lives in London and is currently working on a feature length version of CASHBACK which began filming on May 23rd 2005 in London.
PRINT SOURCE
Lene Bausager
1st floor, 47 Brewer Street, LondonW1F 9UF
Phone +44 207 494 4433
Fax +44 207 494 4477
DIALOGUE
Written and directed by Sean Ellis
Dialogue list
All dialogue in English
BEN (VOICE OVER)
When you fall asleep, you are unaware of sleeping until you awake. During those missing hours, a whole other world comes alive. Welcome to the night shift.
My name is Ben Willis. For three nights a week, I work the late shift at Sainsburys. For me, the supermarket is a trading facility. Apart from the obvious trade in food and household products, the supermarket also trades in time. During the hours most normal people are sleeping, I am trading my time.
I trade my time for money. I give them eight hours. They give me money. Cashback.
SHARON
Hi Ben.
BEN
Oh hi.
SHARON
I'm late again. Jenkins is gonna kill me.
Seeyer later.
BEN
Yeah, seeyer.
JENKINS (O.S.)
Sharon!
SHARON
Yes Mr. Jenkins.
JENKINS
You’re late again Sharon.
SHARON
I'm sorry Mr. Jenkins.
JENKINS
That's the second time this week.
SHARON (O.S.)
I know, Mr. Jenkins. Yes I'm sorry, it won't happen again.
JENKINS
All right then, back to work.
BEN (V.O.)
This eight-hour trade gives me the money I need to pay my way through art college, when most of my first year was devoted to the fundamentals of still life. .
JENKINS
Well don't just stare at it Ben. Clean it up!
BEN (V.O.)
You see. I've always wanted to be a painter. And like many artists
before me the female form has always been a great source of fascination.
I've always been in awe of the power they unknowingly possess.
JENKINS
Now are you going to clean them up or not?
BEN (V.O.)
This is Sharon Pintey. Sharon knows that there is an art to dealing with an eight hour shift. An art to putting your mind somewhere else so that it becomes unaware of the trade off. All the people who work here have perfected their own individual art.
Sharon knows rule number 1. The clock is the enemy. The basic rule
is this...the more you look at the clock, the slower the time goes. It will uncover the hiding place of your mind and torture it with every second.
This is the basic art in dealing with the trade of your time.
SHARON
Any cashback?
BEN (V.O.)
This is Barry Brickman. You see Barry thinks of himself as a bit of a daredevil stunt man.
For a start. Barry is quite well known. When one of Barry's bike tricks went wrong, the cameraman put it on the internet.
Barry has stuck to his scooter ever since.
Matt Stephens is also a keen scooterer.
MATT
And what was the other thing?
And what was the other thing?
OLD LADY
Sausage.
MATT
Oh yeah. There you go
BEN (V.O.)
Now Barry and Matt are good friends. Between them they have
come up with a very different way of dealing with the trade of their
time.
MATT
Barry...
BARRY
What?
MATT
Look.
BARRY
Oh wait!
(laughing)
BEN (V.O.)
Theirs is an art of finding anything to do that isn't work.
That was their final warning for pursuing something to do other than
their job.
A few weeks earlier they had been reported for they called "Helping the
ladies". It was these shampoo bottles that sent them on their quest. Barry and Matt knew what it looked like and they knew that the women in the supermarket knew what they looked like. Their theory was that even though it was a sex toy masquerading as a bottle of shampoo, women would like to try it as a sex toy but were embarrassed to buy it, because they knew what it looked like.
The decision to buy it would have been an easier one if they were already at the checkout. If they didn’t object then Barry and Matt knew they had helped the bottle find a happy home. But what they didn't know, was that the bottle was the best selling shampoo on the market.
Barry had challenged to a scooter race, in which they should sprint down one aisle and up the next. They had been waiting for the day the manager called in sick.
The art of doing something else other then the work you’re supposed
to do is addictive. The excitement of doing something that you shouldn't be doing along with the consequences if you are caught doing it, are so strong that it often pulls others away from their own art.
SHARON
On your marks…get set...GO!
BEN (V.O.)
When you have perfected the art of placing your mind somewhere else, eight hours will go as fast as this. Time manipulation is not a precise science. Like any art it is personal to the individual.
JENKINS
Send them out into the world, fulfilled and joyful…
But you are the one: I gotta tell you Sharon, I’m a modest guy. I felt fantastic. I felt looked beautiful.
BARRY
Throw this in your face?
JENKINS
You inspire me, perhaps more than I inspire myself…
BARRY
Yeah, you’re lucky.
JENKINS
On a bench, with the boys, I felt like a god.
I am an Adonis.
I keep myself in good shape, I know that. I see the looks…
I ignore all that.
You have to carry on, you know? You have to strive. Make your own mark.
I felt like a real man. I think you like real men, don’t you?
There’s something supreme…
BEN (V.O.)
So what is the art in making my shift go fast?
I imagine the opposite. That time is frozen.
I imagine that the remote controlfor life has been paused, and
within this frozen world I am able to walk freely and unnoticed.
Nobody would even know that time had stopped and when it started
back up again the invisible join would be seamless except for a
slight shudder, not unlike the feeling of somebody walking over
your grave.
That moment when you see somebody walking down the street who is so
beautiful that you just can't help but stare...
Well imagine as I do, that with a world on pause it becomes very easy
to understand the concept of beauty; to have it frozen in front
of you, that precise moment captured. Unawares.
For me. This fascination with beauty started at a very young age.
I was six or seven and my mum and dad had taken on a foreign student.
She was in her late teens and was studying English at a near by school.
Being Swedish, the walk from the shower to her room didn't need to be a modest one. It was at that moment that something very profound happened to me. I was exposed to the female form in a way I had never experienced.
I felt fascination and wonder at the beauty of her nakedness and I wanted to freeze the world so I could live in that moment for a
week. I have never had a feeling of such completeness. To this day I
still think it was one of the most beautiful things I had ever seen.
BEN (AGED 6)
You dropped these.
BEN (V.O.)
And would it be wrong? Would they hate me? For seeing them, I mean
really seeing them...
I read once about a woman whose secret fantasy was to have an affair with an artist. She thought that he would really see her. He
would see every curve, every line, every indentation and love them
because they were part of the beauty that made her unique.
And when I'm ready the only thing I need to do to start time again...is crack my fingers.
JENKINS (O.S.)
Barry!
CASHBACK1