HYPER – The Stevie Hyper D Story – UK Cinema Debut
Photo Credit – Jesse Holborn
19th November 2024 saw the first of a two night only UK wide screening of Hyper – The Stevie Hyper D story in selected Odeon cinemas (with the second being on the 27th). This monumental project has ten been years in the making, and was recently subject to a huge Global crowdfund that manage to raise a staggering £48,510 to get it to cinema.
The film has been a collaboration between Stevie’s Nephew Darrell and British film maker, director and producer Jamie Ross-Hulme, and has seen many highs and lows. We were, are and always will be huge Stevie Hyper D fans and have been given this fantastic opportunity to dig deep into the creation and fruition of this incredible project.
Stevie’s Story started way back in the 1980s with involvement with various sound systems and blues parties, and he spent many years honing his skills before the rave scene appeared. By this point in time his plan was firmly set in stone and he knew exactly where he was heading. To the very top of his game.
Taking influence from various MCs in and around London’s blues party culture, and even hosting blues parties at his mums house, he was deadly serious about his craft. That he was almost illiterate upon leaving school, and only learned to read and write properly post 16 makes this whole story even more remarkable, given that his vocabulary and lyrical prowess was learned at that early stage purely through auditory processes.
He made a number of tracks with various artists before his posthumous debut album project as Stevie Hyper D Wit’ Different Levels hit the streets, and we find out that after being signed by Island Records he was right on the cusp of what might have been international stardom. He was already regarded as one of the best masters of ceremonies on the circuit.
Throughout the movie we get a glimpse at his note books and rhymes, and Darrell comically describes the way Stevie would find his siblings and nephew’s school books and homework notebooks laying around the family home, and simply tear out completed pages of work to allow room for his rhymes and raps, seemingly desperate to get them out of his head and down on paper.
We learn of his charisma and charm, his wit and humour, his deep and unwavering love for his family and friends, and we learn too of the deep drive and passion that ran through the core of his personality. Helping up and coming MCs on stage during his own sets was something he has become particularly well remembered for amongst his peers.
Nu-Tekk – Happiness (It’s A House Thang) – 1991
Stevie Hyper D was arguably the best MC the drum and bass scene has ever produced. His rapport with the crowd, his ability to recycle chants and phrases from his musical heritage and present them in a way that was engaging and contemporary, and his presence on stage was monumental.
He could transition from delivering the smoothest vocals to spitting the fiercest bars at the flick of a switch and when he let loose, the venue, no matter what the venue was, simply blew apart. And I know. I saw it happen. When he rocked a venue it was something nobody could forget.
His notorious musical partnership with jungle behemoth Nicky Blackmarket cemented his place amongst the giants of the mid to late 90s jungle and drum and bass scenes, and one can only sit and wonder now at what might have been.
Underlying all of this though, as the film journeys through his life story from early childhood to a man at the zenith of his career, is the tragedy of a life cut too short.
In July 1998 at the age of just 31, Stevie passed away from a heart attack, leaving a whole host of what ifs, just imagines and of course, an army of grieving fans, colleagues and peers and a devastated family.
One thing we can all be thankful for though in wake of this tragedy, is that there was enough foresight by various individuals across the years to record and preserve both audio and video footage of Stephen Austin, AKA Stevie Hyper D, the MC that changed the game for generations of future performers and set a bar that few have come close to reaching.
RIEP Stevie Hyper D.
Stevie Hyper-D – Teknoragga – 1991
We’ve been lucky enough to be able to speak with the films producer Jamie Ross-Hulme about this incredible project.
We caught up with Jamie before the film hit the big screen, to discuss the many twists and turns in the journey from sketchpad to cinema screen.
We booked our tickets and we weren’t disappointed!
Have you booked yours?
Jamie! Welcome in!
Jamie Ross-Hulme (Director & Producer, HYPER): Thank you!
Before we get into talking about the film proper, the first thing I wanted to discuss is the moment Darrell (Stevie’s nephew) walks into a store room and picks up a box containing some personal effects of Stevie’s and says ‘In this box is Steve’s history. I’ve been avoiding this for a long time”. You know right from the opening moments that this is not only a story of an incredibly creative individual and game changing MC, but of somebody’s son, somebody’s uncle, somebody’s closest friend and many, many peoples friend. Taking on this project carrying that knowledge is a huge responsibility. How did you prepare yourself for that challenge?
In all honesty, this was the element that I really pushed Darrell for. Understandably so, he was very nervous about opening up on camera. We’ve become great friends over the course of the making of this film and he trusted me implicitly. What he had told me off camera, I knew how much he was shouldering emotionally, so I was always really respectful about how we collectively as a team tackled what were highly emotional and raw subject matters. The further we got into the edit and the final stages of post-production the more I realised this wasn’t just a film about an MC, it was a film about a person, with a family in a literal sense and also a music family!
Stevie Hyper-D & Tigger Max – Hear The Vibes – 1992
Absolutely. And fair play to Darell. He comes across very naturally.
How difficult was it to set the initial scene and get the conversation moving in a direction that was business like, but also personal and respectful? I mean, seeing a film project through to the end must take an incredibly high level of co-ordination, and some executive decisions that might not always be easy to make?
Everyone in the scene was super respectful and helpful in attending interviews. The business aspect and production of the film was incredibly complicated and something that I had experience in to a degree with the work I do for a living which is Event & Content production. However, feature film making, production, post-production and distribution is a totally different beast. We literally had to learn on the job and create a team of people, who had experience where we didn’t. It literally has been the hardest project I’ve ever worked on my career.
I have no idea how setting out plans for a full length feature come into being. Where the heck does it all start. I can only assume that with you being an original Stevie fan and a junglist yourself, it might have been around a pint with Darrell in a London pub somewhere!
It started with Darrell actually. I used to run a music platform which is now the name of my production company: Beat Culture LDN. The idea behind the platform was to showcase my writing and short films. At the time, I was writing for myself and also AllHipHop.com in New York. I had also just made a short film on MC Navigator. Darrell saw that and approached me about doing something for his uncle. To me it was a no brainer, we had to make it happen. Originally it was going to be a short film, and then it spiralled out of control!
Stevie Hyper D & Ils– Boomshakalack – 1995
I’m picturing a whiteboard with key points on it that you wanted to achieve during the film making process. What would you say were the key considerations? The things that HAD to be focussed on in order for the film to be considered a creative success and omitting them would have meant no deal. Can you share a few of those with us?
We started with a 3 page treatment in September 2012, that was then rewritten as a one pager whilst we were developing the film from July 2013 to March 2016.
In March 2016, we connected with a consultant called Col Spector who teaches at NFTS. I spent an afternoon with him, discussing and working out a story arc. This was the first time I really began to learn the art of storytelling. That was a year before we started shooting and really was when we started to realise what a huge story it was!
From 2016 to Feb 2017, before we started shooting we really went into the first version of the story. So we had an idea of what we were trying to do before the cameras started rolling. That being said, it wasn’t until the edit that despite some basic preparation. We hadn’t really done enough preparation to make the film we wanted to. Really we should’ve created an edit script before we went into the edit.
So for the first iteration of the film, we were cutting a film without any script. Which was fine for a rough cut, but to enable us to get to the locked picture over a year later in November 2021, we had to create a script to work off. This was essential for us to see on paper what we were missing and what was needed.
LESSON FOR NEW FILMMAKERS: BE PREPARED FOR THE EDIT, IT’S NO JOKE!
Roughly how many hours were spent do you think, sifting through footage and audio featuring Stevie’s performances?? I mean, between the internet and event tape packs and CD’s, there must be hours and hours of it out there in the ether?
The actual research and development period was the best part of 4 years, from July 2013 when I returned from living in Canada. We spent a couple of years trying to find the footage and setting up the Hyper-D brand. When we did find the first treasure trove of footage with Garry Clarke (DJ Dougal’s dad), I’d spend every weekend for the best part of a 1.5 years digitising tapes and watching them, usually on a Sunday. So I reckon about 40-50 days from early 2017 to late 2018 just trawling through footage, which for most people would be a chore, but for me was a total joy! Music wise, that was a lot easier as we were working closely with Dizzy from Rave Archive who is a total mastermind when it comes to Stevie sets and tape packs from that era. Also, massive big ups to Kenny Redz (RIP) who was Stevie’s mentor who hooked us up with loads of early recordings.
Stevie Hyper D – Junglist Soldier – 1996
And the structure of the movie itself? I guess there is a basic start, middle and end routine to follow, but I can imagine, with each person you interview having their own version of the start, middle and end, getting everything in the right place must be a logistical nightmare!?
The film is a co-Narrative between Stevie and Darrell. We applied a three act structure to Stevie’s narrative and a 5 act structure to Darrell’s narrative. This really helped us gel a super complicated web together and manage the interviews as such.
Photo Credit – Tristan O’Niell
When the crowdfund ended and that magic number of over £48,000 came up on the page I literally couldn’t believe what I was seeing. There is a clearly a real hunger for good quality, accurate historical media out there, especially as a second generation of junglists are coming through now, eager to find out about the roots and the origins. We’re you surprised to reach such a fantastic figure?
We were overwhelmed by the support, but it was nailbiting up until the final 10 days when it just went bonkers. The Kickstarter was up there with the hardest moments in the whole process.
Some of the merchandise that was available with the funding raising packages is fantastic. Who was behind the ideas and design for it?
That was all us and our amazing designer Nacho, who’s a total legend!
Nicky Blackmarket & Stevie Hyper D – One Nation – 1997
Having now seen the film, I can confirm that there are some really heart rending moments in it. With the recent passings we’ve had in drum and bass, the family ethos and true human connections that run through not only the upper echelons of the scene’s creatives, but also the people on the ground doing the dancing have become clearer than ever. I shed a tear or two, and I can only imagine that you did too?
Ah man, it was a really emotional process, particularly for Darrell who really bared his soul for the film. This is his story at the heart of the film.
Having gone through significant losses and grief throughout my life and also a lot of therapy, we both really felt it was particularly important for the subtext of the film, that we open up as people and talk about difficult subjects such as grief.
We both believe that men in particular need to open up and not feel uncomfortable talking about things like grief. Hopefully viewers will see that thread throughout the film.
I could not agree more with that sentiment. Things do seem to be changing throughout society, but there is still a massive hill to climb in terms of men allowing themselves to be vulnerable.
You must be extremely proud of this project. The cinema screenings are just the start of this really, as I guess next up will be televised and pay per view options, but more than that, this thing is out there now and will forever be out there. Long after you and I and they are gone. It will no doubt cement itself as a true historical document?
Couldn’t be prouder, this truly is work of a lifetime! I’m excited to see what is next.
Also, how did you find negotiating a huge deal like the one with Odeon?
That was all done through our amazing distributor, Dartmouth Films. It was relatively straightforward to be honest. They loved the film and wanted to make it happen!
Stevie Hyper – D* Wit’ Dfrnt Lvls – That Style Was Mine – 1999
One thing I wondered, do you feel like you know Stevie more as a person now? Has the process personalised his legacy within you as a human being. What I’m trying to say is, has it made you feel closer to him?
Absolutely, we both felt like he’s been with us whilst making the film. Hopefully people will see that in the film.
As we’ve already mentioned, this project is available now to history and will clearly become a hugely important reference point for music fans and historians alike. Has it given you any ideas or impetus for another project based on the underground scene?
We’ve got a huge music series idea up our sleeves. One day I believe that will see the light of the day. For the time being, I personally want to continue making films about amazing people. It’s been a really epic and life changing process.
