Back Story
THE MATTER WITH THEM
This television pilot project, drawn from Timothy Jeffrey’s
first screenplay, was conceived originally as a full length
feature. Optioned in Hollywood by TriStar and later Manadalay
Pictures but never produced, the story undertook more characters
and layered more subplots than either house felt a motion picture
should attempt. As well, the feeling was that the unwieldy
structure recognized only vague plot points.
They were correct; it was intentional.
The plot points were broader than they could have imagined. A
former juvenile delinquent himself, Jeffrey had created stark,
dramatic, memorable and sometimes comic characterizations in THE
MATTER WITH THEM anticipating that the film would be a jumping off
point for a television series some day. His intention was for the
characters, typical of TV series in general, to evolve and change
over time, so certain of the elements were imbedded for reveals
and plot triggers throughout a long run. A director at the time
who wished to produce the project through his company, realizing
the challenge of handling so many actors (and kids in particular),
backed out, saying it would be more than he could reliably expect
to accomplish well.
So THE MATTER WITH THEM languished.
After returning to Detroit to write and direct projects for
others, Jeffrey wrote, directed and produced his first feature,
YOU ARE HERE, released in 2007, which continues to enthrall
audiences throughout North America. With it, Tim Jeffrey has
raised thousands for Alzheimer’s in honor of his mother, who
recently passed from the disease.
Having decided it was time to get back in the saddle, Jeffrey
turned his hand to shooting this episode of his TV concept. In
order to raise the stakes and the interest of funding sources, he
conceived of a story that would fluidly introduce principals and
recurring minor characters while giving a taste of the kids, their
problems and their world, with a strong hook that - audiences have
now confirmed - engenders genuinely anxious curiosity about what
happens next. (Check out the “Synopsis”)
Throughout the summer, Jeffrey trained all actors in the
political and every day realities, historical trappings, inner
workings, legal reasoning and statistical implications of an
antiquated and still foreign sector in criminology. Much as a
teacher would, he then set about explaining the program
requirements and likely scenarios and motivations of all
characters, along with their fictional arcs, with the help of
hired social service professionals who served as consultants and
aid d’camps in order to tie everything together, utilizing a lot
of real life stories.
The actors worked hard to digest all this, but some, like
Paul Burt - who had been in trouble as a kid and had volunteered
to counsel, train and help youth for he past 17 years - already
lived a lot of this. Burt was stunned that his casting so closely
mimicked the role he has played all his life. He was invaluable in
referencing his experiences, leading others to understand this
screwy, if nonetheless at times remarkably poignant and triumphant
universe of institutionally-incarcerated youth.
Just as shooting was to begin, Paul Burt’s son was murdered
with his wife as they lie in bed sleeping one morning. Anthony
Moxley and his wife were killed by a man they had helped to get
his life together after prison, no doubt a former juvenile
miscreant like the kids we were creating for MATTER. Paul is a
God-fearing man and his noble conduct in the tragedy inspired
everyone on the crew and in the cast. As a consequence, the
episode here is dedicated to his son Anthony. The soul of this
show is embodied in his passing: Good, sometimes miraculous things
happen when people try to help kids, but sometimes the risk is
great because the damage, personally, spiritually and societally
can be too great to overcome. Paul won’t stop working with and
believing in kids. We will tell the real story of the malaise that
has brought us all to imagine the problem as something it never
was, without sugarcoating what happens when people unite to do
something about it. But we want the world to know there are brave
and committed people like Anthony willing to put it all on the
line, no matter the risk; strong hearts of warrior’s like Anthony
will always be the answer. We would be thrilled to think that in
the same spirit, this TV program would engender enough awareness
that the culture of disconnection might change, ultimately.
There was still much work to do...
Rehearsals, the Jeffrey style, went quickly to role plays and
ad libs that sometimes found their way into scripts - as Jeffrey
expects once off-book actors must find their way. Through games
to set rules of engagement, he led the teens through choices that
would have to reflect their characters needs. Actors were required
to come in with news of more back story; they were encouraged to
argue for what they believed to be a genuine need or casual
physical reflex. Jeffrey does not like to over-rehearse, though
actors needed much time on this one to build their action, and
acquitted themselves remarkably.
Khalil Lamarr, a late selection brought in without audition
on type alone, was much older than the others and had to play much
younger for Frank Archer, the group’s ostensible big brother.
However, when Khalil, who once lived on the street for four years,
sleeping in cars in Washington D.C. to stay out of the street
action that sought to pull him in, was selected by Busch Gardens
for a major dance and song review and Jeffrey had to doctor the
script to create a sudden graduation meeting and residual impacts
to complete the logic of his sudden exit. On shoot day, the
director even took some outdoor shots to match a different scene
for after Khalil’s move to Florida; the very location had not even
yet been scouted. You may not catch the rather odd fit, because it
worked. Khalil continues in his successful career but should the
TV pilot make budget and launch officially, will be a returning
presence periodically in the series.
In a bizarre and depressing twist of fate, one of the cast
committed his first crime just months after shooting ended. He has
been lost to the show, as he may serve a long sentence. On a more
hopeful note, talented Deon’te Ritchie, the Ronnie Taylor
character, dropped his first CD, which continues to sell well.
Beneath the dense and snappy WEST WING-like jocular verbal
repartee characteristic of the MATTER WITH THEM, the audience
glimpses the strained staff conduct typical - because of the
honorable example mandatory - in any detention facility. The kids
in the Peace Group confront the audience with the choice of
laughing, suspecting or commiserating with them sometimes in
alternating ten second flits, an emotional undercurrent always
promising a shock or black out. What is being revealed, or not,
drives much of the action. The young inexperienced cast, few
having had more than a few plays under their belt, has gone above
and beyond to portray a confused, angry and slightly crazed band
of troubled goofs.
Shows like THE WIRE conceive of street kids as slick,
hardened, dangerous and ahead of the curve; but those types rarely
live long enough to make it to juvie and if they do, end up with
adult convictions. The boys of MATTER are instead accurately
portrayed as the followers they are generally, inadequate and
clueless for the most part but champs at antagonizing enemies and
finding a way to be victimized, if only because they are finally
in a safe environment where someone will protect them.
Upon showing the first cut to an audience, the producers
decided they needed to reinforce some things. Kim Brooks, honored
the production as usual by stepping back in to the studio to do
some green screen shots that again have been flawlessly integrated
by E. Alan Contino in the suite so that one of the scenes flowed
better. Contino slaved for weeks to get the right color palette
and film look, which he had begun to design from the start with a
special attention to depth of focus. Contino, one of the most
experienced, perceptive, diverse and hardworking studio people in
the business also painstakingly built the sound design for months.
Craig Furkas, again an astonishing talent with a gift for
matching his original musical compositions to the tenor and
changing emotions of the production, created theme music and
overall score to imprint THE MATTER WITH THEM with its unique
character. Craig’s score underpinned Jeffrey’s first film, YOU ARE
HERE, as well, stitching the emotional flow and impact so that
audiences still rave.
The combined result for MATTER has been a remarkable amalgam
of work ethic and raw talent, all devoting their considerable
energies to a program that, for the first time, shows who juvenile
delinquents really are, what they face, what it takes to reach
them when that can be accomplished at all, and what the work
requires of even the best minds and most vigilant hearts. And
still entertains. See what you think and drop us a line with any
compliments or criticism you feel moved to make.
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