When producers write their own releases, after they suck on the necessary modesty lollies, the results can be really illuminating.
Lee Matthews, producer of Neil Triffett’s EMO the Musical, is turning the idea of diversity inside out. It is not diversity which is strange but the notion of a monolithic society glued together by mutual reinforcement of unquestioned values. While the mainstream screen sector waits (im)patiently to see the result of opening the pool, Matthews created an interesting competition.