Interview With Bradford Filmmaker Jordon Scott Kennedy
Jordon has had quite the journey – from self-taught storyteller with no industry contacts to BBC-commissioned screenwriter and the first ever winner of the Slick Films Fund.
We caught up with him on set of Rocket Fuel to reflect on his path, what Rocket Fuel (Spearheaded by Fully Focused) means to him, and how he’s building a new kind of filmmaking community from the ground up.
What’s your journey in cinema been like so far?
Like any journey, there’ve been highs and lows. But when I look back, I feel like I’ve done alright – especially considering I started out with zero contacts, no qualifications, and nothing but blind naivety. And yet, here I am, talking about my Slick win and having just wrapped my first BBC commission. It’s surreal.
I’ve always believed in graft, and I do feel like I’ve earned everything I’ve achieved. But I also know not everyone gets the same breaks, so I want to use whatever platform I’ve got now to help others get a leg up.
The last decade’s been rough at times. I blagged my way into film school, left in 2014, and shot a micro-budget feature in 2017 – which then got stuck in post for years, partly due to Covid. By 2022, I still hadn’t released anything, but I never fell out of love with writing. Between 2017 and 2022, I wrote over 30 scripts.
Then I made a short film called Youthless, and everything changed. A week after its first screening, I got optioned by Rollem Productions, signed with an agent, and started developing a TV series. Around the same time, my feature finally dropped – and won at the British Urban Film Festival. It was wild. Six months earlier I was on Universal Credit, now I’m in BAFTA meetings with major production companies. It still feels mad.
” I was on Universal Credit, now I’m in BAFTA meetings with major production companies. It still feels mad..”
Rocket Fuel has been hugely successful. It won competitions and led to a BBC commission. How does that feel?
Honestly, it’s nuts. I wrote Rocket Fuel in four hours, and it ended up winning two major competitions and landing me a BBC commission. It just shows that while it’s great to have a long-term plan, sometimes a burst of inspiration can change everything.
Working with the BBC is a huge milestone. Hopefully, it’s just the beginning of seeing more working-class stories on screen. The shoot itself was a joy – zero egos, loads of emerging talent getting their first proper credits, and a buzzing atmosphere. The goal now is to keep that energy going and bring more people through the door with us.
You were the first winner of the Slick Films Fund. How did that feel?
Winning Slick meant a lot. Chris and Rachel’s journey has inspired so many of us from working-class backgrounds, so to be chosen as their first fund recipient was a real honour. I’m genuinely proud to be part of the Slick family.
As for advice for future applicants: write about what makes you feel unseen. That’s what Slick is all about – representing the underrepresented. Be bold. Say it with your chest. Voice is everything, and it’s the one thing in this industry you can’t fake.
“Chris and Rachel’s journey has inspired so many of us from working-class backgrounds.”
Coming from Bradford with no network or industry ties, how did you break in?
I had no choice. After film school, the London crowd disappeared back to their networks and I had to start from scratch. That’s when I realised that being a filmmaker isn’t just about making films – it’s a way of life. So I built my own scene.
I made a feature for £10k, then launched Idle Work Factory – an inclusive production company and free film school – with my partner Casey. Later, I became Creative Lead at The Unit in Bradford, where we started linking up local talent and running workshops in schools and youth centres.
Now we’ve got a community of over 200 creatives and growing interest from industry pros who want to discover new talent. My vision? Creative hubs in every city, all connected. It’s about building the network we didn’t have.
“Being a filmmaker isn’t just about making films – it’s a way of life”
What’s been the best part of making Rocket Fuel?
Honestly, I’m just proud of everyone who touched this film. The producers – from the BBC to Fully Focused to the team at Slick – were all brilliant. We discovered two amazing first-time actors, Elif and Logan, who were hilarious on and off screen. I also got to work with my mate Shaun Thomas, and Danny Cunningham – who’s been one of my acting heroes for years.
The shoot was a dream. And I think the film captures something real and urgent. It’s funny, sharp, and full of heart – just like the people who made it.
Final Thoughts?
Rocket Fuel is just the start. I want to keep writing, keep creating opportunities, and keep proving that working-class stories belong everywhere – in festivals, on TV, and on the biggest stages. If you’re reading this and wondering if there’s a place for you in the industry: there is. Build your world. Write your truth. And never underestimate the power of a good script.
If you have a script – consider submitting to the Slick Films Fund here.
Every film starts somewhere.
