The Inbetweeners Movie.

(:: History ::)

1)Boloss: n.m Shrinkage of middle-class person and lopette. Affront in fashion, especially at the young people, synonymous with dated, no wholesale trade, clown, pigeon. "Go to it you ace seen your face, wholesale trade bolos?"
Will, Neil, Simon and Jay, four teenagers of the south of de l' Angleterre, spend their holiday in Crest. They always have the same obsessions: alcohol and sex!
2)Will, Neil, Simon and Jay, four socially troubled eighteen-year-olds from the south of England go on holiday to Crete.
Date (s) of Exit (s):  December 21st, 2011 |   November 25th, 2011

Accomplished by:	Well Micrometer calliper
With:	Simon Bird, James Buckley, Blake Harrison, Joe Thomas, Laura Haddock, Emily Head, Tamla Kari, Jessica Knappet, Lydia Rose Bewley, Theo Barklem-Biggs...

Distributor:	ARP SELECTION
Type:	Comedy
Country:	England
Length:	1 h 36
Original title:	The Inbetweeners Movie

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(:: Scenes of the movie ::)

Series - The Inbetweeners:
With the way it treats adolescence, its situations and its dialogues at the same time trash and schoolboys, "The Inbetweeners" enticed the public British man who was very quickly taken of affection for these four buddies of high school in average, not really cool nor really popular, but not losers either. Broadcast on Channel 4, in England, between 2008 and 2010, "The Inbetweeners" knew three seasons, of 6 episodes each, in dazzling success. The first episode of season 3 holds even the record of the best audience for a series conceived by Channel 4. Facing this infatuation, MTV prepares an American version of series. In France, MCM broadcast her from February, 2011, and she will go past again in entirety in December on the occasion of the exit of the film. Ian Morris and Damon Beesley, the creators of series, co-wrote all episodes as well as film adaptation. Well Micrometer calliper, the film director of the film, was already at the controls of the pilot and seasons 2 and 3. Christopher Young produced series and film.

The characters:
“We had right away imagined a quartet for series. It is exactly the number of characters which you need for a comedy” explains Damon Beesley. “You have Simon, the one without whom the group wouldn't exist, you have the outsider, Will, who allows to bring a different look on what takes place, you add the “big face”, Jay, and finally Neil, the eternal naive buddy, always a bit next to the plate.”“Vous avez Simon, celui sans qui le groupe n’existerait pas, vous avez l'outsider,Will, qui permet d’apporter un regard différent sur ce qui se passe, vous ajoutez la “grande gueule”, Jay, et enfin Neil, l’éternel pote naïf, toujours un peu à côté de la plaque.”
“Simon gathers the group around him. He is the oldest friend of Jay and becomes that of Will, the new of the high school, when he moves into their district. The personalities of Jay and Will are completely opposed, but they balance each other perfectly in the final” notes Ian Morris. “They always played on idea that Jay was also clever and odd queWill, but in a different way. Jay is more trash, more childish and fanfaron. In the film, the boys evolved in comparison with the last episodes of series. For example, Neil has a girlfriend and he established the whole list of rules on what, on holiday, would be liable or not by disloyalty. On the other hand Jay, he, is always so crude, what gives him besides the occasion to take out some retorts of anthology.”“On a toujours joué sur l'idée que Jay était aussi intelligent et drôle queWill, mais d'une manière différente. Jay est plus trash, plus immature et fanfaron. Dans le film, les garçons ont évolué par rapport aux derniers épisodes de la série. Par exemple, Neil a une petite amie et il a érigé toute une liste de règles sur ce qui, en vacances, serait passible ou non d’infidélité. En revanche Jay, lui, est toujours aussi cru, ce qui lui donne d’ailleurs l’occasion de sortir quelques répliques d’anthologie.”

Genesis of the film - Boloss on holiday:
Adolescence is marked by several inevitable rituals of passage, of the first incursion in a bar for " the first time ", by way of the first famous holiday between buddies, without the parents. Newly taken out from the high school, our four "Boloss" is therefore ready to take off for a potentially unforgettable trip. Their destination: the Crest, its beaches but especially its nightlife and the promises of nightclubs opened until daybreak …
“To spend its holiday between guys can quickly be transformed into a nightmarish experience” Ian Morris explains. “I several times went on holiday with a group of buddies and this always leaves in spiral, with disputes even between better friends. The slightest thing takes immoderate proportions when you are far from you. It appeared to me to be a good situation with which to confront the boys in the film.” It had been a long time since this idea trotted in the head of Ian Morris and of Damon Beesley: “When they began conceiving series, they had already thought of including holiday because, as they say, trips form youth. ”Both co-writers preferred waiting that "Les Boloss" leaves the high school (at the end of season 3), to make them live this adventure in the cinema. Cela faisait longtemps que cette idée trottait dans la tête de Ian Morris et de Damon Beesley : “Quand on a commencé à concevoir la série, on avait déjà pensé à inclure les vacances parce que, comme on dit, les voyages forment la jeunesse.” Les deux co-scénaristes ont préféré attendre que “Les Boloss” aient quitté le lycée (à la fin de la saison 3), pour leur faire vivre cette aventure au cinéma.
“They wanted to show the abyss which separates this holiday idealised by all teenagers and what indeed takes place there in the final” Damon Beesley explains. “There is this kind of fantasy, where you think that you are going to meet all these incredible girls, that you are going to get a foothold from morning till evening, drink up to more thirst... In short, Nirvana. But once you arrive on the spot, it is another story.” Simon Bird, who joueWill, adds: “I don't know why people always imagine that their parties will differ, all this because they aren't in England, but abroad. This doesn't prevent them from being also pathetic there.” Simon Bird, qui joueWill, ajoute : “Je ne sais pas pourquoi les gens s’imaginent toujours que leurs soirées seront différentes, tout ça parce qu’ils ne sont pas en Angleterre, mais à l’étranger. Ça ne les empêche pas d’être tout aussi pathétiques là-bas.”
In this trap to tourists pervaded by teenagers muzzy and filled in blocks, Will, Simon, Jay and Neil meet in a world filled with danger. “Suddenly, you become aware that abroad people are much more flippants that when you are at home” Damon Beesley continues. “In this type of clubs of holiday, there is hundreds of types of your age which pass their days to be drunk and that, them, are great comfortable. ”This feeling of uprooting is an aspect mattering from the film. For Damon Beesley: “They are going to learn a lot and grow in the space of ten days. Of course, their friendship and their relations with the girls are in the middle of history, but there is this idea as as whatever is the place where you go, it is first with yourlself that you travel. The boys dream to reinvent, to be played her nice rascals, but they will arrive at it never because they are who they are.”

Filming:
Filming mainly took place in Crete, where history takes place, and some stages of holidays were turned in Majorca. “Although he never makes film before, we fought to impose Micrometer calliper Well on realisation. The team had knitted together around him on series and we knew that this team worked” tells Chris Young. “It was the first film and however Well has never got confused at the idea of having to turn on a boat or to use a hélicopter for the good of a stage. He is capable of creating a visual world which belongs only to him. ”For the film director, stake was to use big screen so that the audience sees four boys interacting together, inside the same plan, instead of showing the faces roughly plans as it is more systematically made with a format classify.“ As they were taken out from their comfort zone and zone of their habitual environment, they have to show in what it differred, what thrilled them and what unseated them” explains Well Micrometer calliper. “Unless being very intimist, British feature-length films sometimes suffer as a result of a lack of means and of largeness” adds Ian Morris.“ It therefore seemed to us necessary that the film includes some bravura so that the audience doesn't feel looking at an episode extended by series television. The time of series, camera was as " the fifth Boloss ", who always wondered what they were being up and looked at topcoat their shoulder. Now, if the camera always gives impression to the spectator to be inside the group, they tried to create a new ladder. For example, it was possible to make laugh thanks to a slow motion or to some movements of camera which it would have been never possible to give themselves on television. For the film we also had the luxury of length, where contrary to episodes of 24 minutes which are mainly based on exchanges of gates, there it was possible to include a little more spectacular stages.” But beyond these new technical challenges, true stake it is because the audience becomes attached to the characters, because they feel implicated throughout the film. For Chris Young, “the film must be able to look without knowing series. Be a film in itself. They know that many people could tell themselves: I heard about this knack, this goes out to the cinema, I am going to see about what it is.”“C’était son premier film et pourtant Ben ne s’est jamais démonté à l’idée de devoir tourner sur un bateau ou d’utiliser un hélicopter pour les besoins d’une scène. Il est capable de créer un univers visuel qui n’appartient qu’à lui.” Pour le réalisateur, l’enjeu était d’utiliser le grand écran de manière à ce que les spectateurs voient les quatre garçons interagir ensemble, à l’intérieur d’un même plan, au lieu de montrer leurs visages en gros plans comme on le fait plus systématiquement avec un format série. “Comme on les sortait de leur zone de confort et de leur environnement habituel, il fallait qu’on montre en quoi c’était différent, ce qui les excitait et ce qui les désarçonnait” explique Ben Palmer. “A moins d’être très intimistes, les long-métrages britanniques pâtissent parfois d’un manque de moyens et d’ampleur” ajoute Ian Morris. “Il nous a donc paru indispensable que le film comporte quelques morceaux de bravoure pour que les spectateurs n’aient pas l’impression de regarder un épisode rallongé de la série télé. Du temps de la série, la caméra était comme “le cinquième Boloss”, qui se demandait toujours ce qu’ils étaient en train de manigancer et regardait pardessus leur épaule. Maintenant, si la caméra donne toujours l’impression au spectateur d’être à l’intérieur du groupe, on a essayé de créer une nouvelle échelle. Par exemple, on a pu faire rire grâce à un ralenti ou à certains mouvements de caméra qu’on n’aurait jamais pu s’offrir à la télévision. Pour le film nous avions aussi le luxe de la durée, où contrairement à des épisodes de 24 minutes qui reposent principalement sur des échanges de vannes, là on a pu inclure des scènes un peu plus spectaculaires.” Mais au-delà de ces nouveaux défis techniques, le véritable enjeu c’est que les spectateurs s’attachent aux personnages, qu’ils se sentent impliqués tout au long du film. Pour Chris Young, “le film doit pouvoir se regarder sans connaître la série. Etre un film en soi. On sait que beaucoup de gens ont pu se dire : j’ai entendu parler de ce truc, ça sort au cinéma, je vais voir de quoi il s’agit.”