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Kane Robinson, Daniel Kaluuya, and I are currently at a luxurious hotel in London, surrounded by ornate cushions and decorative mirrors. We are engaged in a conversation about contrasts. Specifically, we are discussing the contrast between one’s perception of home as a young person versus as an adult, the difference between being skilled at something versus having a strong passion for it, and the distinction between a movie and a film. They explain that a movie is grand in scale, with big ambitions and a widescreen format, designed for commercial success. On the other hand, a film is more intimate and specialized, with the hope of gaining recognition.
Kaluuya is the creator, producer, and co-director of the new Netflix drama, The Kitchen, which also features Robinson (known as Kano in the music world). Critics confirm that The Kitchen is a film.
“We are creating a film!” Robinson exclaimed to Kaluuya. “I recall in the beginning, you mentioned The Kitchen and how it would be a movie rather than a film. It was almost like the opposite of a kitchen sink.”
Kaluuya chuckles. “We’re not just a kitchen sink, we’re the entire kitchen. The whole damn room.”
Kaluuya, who is 34 years old, has a contagious and hearty laugh, which brings me joy. We are about 15 minutes into the interview, and initially, he wasn’t laughing at all. The start of the interview had been a bit hectic. They were both running late for the photoshoot due to grooming and styling, and even though the photographer worked efficiently, they still had to wrap up at a specific time as Kaluuya had another film to act in and had to be on set.
There was a noticeable tension in the room as we took pictures, with stylists and PR representatives filling the space. For the first 10 minutes of our interview, Kaluuya was rather quiet. It wasn’t that he was in a bad mood, but he seemed guarded, carefully examining everything. However, his demeanor suddenly changed when he took notice of my large notebook. He commented that it reminded him of his school books, and just like that, the atmosphere shifted, like a ray of sunshine breaking through the clouds. That’s the kind of charisma Kaluuya possesses. When he shines, not only does he exude his award-winning acting skills, but also the qualities of a director who can inspire and unite a team. When he’s fully invested, he’s all in.
At 38 years old, Robinson is not only charismatic, but also more balanced and less aggressive. His fans are familiar with his range of emotions in his music – he can seamlessly transition from thoughtful introspection to intense anger to lively and energetic performances. He can also be disciplined and wild at the same time. When he joins in on laughter, it’s as if the hotel room is lifted up like a balloon. We can’t help but go along for the ride!
Both are highly popular and highly respected. Kaluuya has delivered exceptional performances in a range of films, including Get Out, Queen & Slim, Black Panther, and Spider-Man: Across The Spider-Verse. In 2021, he won an Oscar for his portrayal of Fred Hampton in Judas and the Black Messiah. Robinson, who received extensive critical acclaim for his last two albums, Made in the Manor (2016) and Hoodies All Summer (2019), was also nominated for a Mercury Award. From 2018 to 2023, he played the lead character Sully in the highly influential UK TV series, Top Boy. Both are major stars, and having them both in the same room is quite a feat. When I mention that I will be interviewing Robinson and Kaluuya together, people are often in awe.
They’ve been friends for ages, but neither can recall how or where they met. When I ask, they look at each other, puzzled. “From about, just London” is the conclusion. So who stays at parties the longest? They both burst out laughing.
Kaluuya states that he stays for the longest duration, but only while he is present.
Robinson stated that two hours can quickly feel like ten hours.
Kaluuya expressed his preference to remain and his admiration for music.
Robinson said, “He is the one who gets the party going!”
They are mischievous. Several weeks after our interview, they both journey to the United States to promote The Kitchen. On Instagram, their “out out” attitude is evident as they goof around at basketball games and pose for the camera. These young men balance work and play.
The Kitchen takes place in a rundown council estate, known as the Kitchen, in a dystopian version of London’s near future. While the estate is under attack by external authoritarian forces, the residents band together and find solace in each other’s company. In one scene, they come together in a roller disco and participate in the upbeat Candy dance, making it one of the most lively nightclub scenes depicted on film.
“I was like, ‘Noooo!’ when we were supposed to leave after that scene,” says Robinson, recalling the moment.
Kaluuya recalls, “I was with the DJ, urging them to play another song. They played Pop Smoke and the crowd went wild! Then I requested Kano’s song… The scene was authentic because it truly happened. You could feel the energy.”
Kaluuya began working on The Kitchen in 2012 and collaborated with co-director Tavares to bring it to the screen. They had always envisioned Robinson as the lead and involved him in the creative process through voice notes and WhatsApp exchanges. Initially, Kaluuya’s idea for the film was influenced by real-life moped gangs that steal from places like the Westfield shopping centre, but as the project evolved, this aspect became less prominent. Instead, the focus shifted to Izi, a lone resident of the Kitchen played by Robinson.
In his role as Izi, Robinson effectively conveys a range of emotions through subtle facial expressions, particularly his eyes. As a director, Kaluuya embraced this nuanced performance, drawing inspiration from even the smallest gestures such as a blink or a glance. He believes this type of precise character acting is a hallmark of British cinema and aimed to incorporate it into The Kitchen, while also infusing it with the grandiosity and ambition of American movies. While he has a strong appreciation for British films, Kaluuya asserts that they are not limited to smaller-scale productions and can still have a big impact. In his opinion, storytelling is about creating something from nothing, so why not make it epic?
The Kitchen is visually stunning, with the estate resembling a crowded and chaotic Brazilian favela. The market area is lively and brightly lit, but the residential buildings are rundown and barricaded. Occasionally, the estate is targeted by riot police wielding shields and batons. The residents respond by banging pan lids, similar to how wives in Belfast did during the Troubles.
Despite its international influences and eccentricity, The Kitchen is still distinctly situated in London.
Robinson describes the feeling as reminiscent of London. It reminds him of the London he knew while growing up – a place filled with confidence, boldness, a strong sense of community, and deep connections between people. Typically, films about attacks tend to focus on the attacker rather than the victims. However, the goal of this film was to delve into the identities and sense of community of those who were targeted in these attacks.
There are also apartments on a different property that we observe: recently constructed, costly, and lacking character. These apartments are part of the Buena Vida complex. The concierge is automated and there is not a strong sense of community. This is the place where Izi dreams of purchasing a new beginning, with its clean and polished atmosphere. However, he has a disdain for the kitchen, describing it as a “shithole.”
Robinson, who values the authenticity of his acting, admits to struggling with Izi’s mindset. Knowing that he wants to leave, Izi purposely isolates himself from the community. In one instance, he takes up the only working shower, causing a line of others to wait. Robinson reflects, “It was difficult for me to understand Izi’s perspective. In the same situation, I can’t imagine myself as the character who just wants to escape and abandon those who have been there for me and are fighting for each other. But Izi sees it differently. He believes we’re going to lose and he’s on a solo mission to get out.”
The main focus of the movie is the relationship between Izi and Benji. Newcomer Jedaiah Bannerman portrays Benji with a perfect balance of rebelliousness and vulnerability commonly seen in teenagers. Benji attempts to break through Izi’s solitary nature and form a bond with him. As the story progresses, a father-son dynamic forms between the two characters, which we discuss. This dynamic also has a parallel with actor Kaluuya’s own life, as his father was in Uganda until he was 15 years old. Kaluuya is determined to challenge the stereotype of absent black fathers often portrayed in media.
Many fathers struggle with understanding their role as a parent, according to the speaker. It can be a difficult topic to discuss and many may wonder how to handle it. They may have to confront their own experiences or lack thereof. Some may be afraid of making mistakes and it may be better for them not to be involved in their children’s lives. The film does not judge the character Izi, but rather portrays his struggles and efforts to do what he thinks is best.
Following the completion of the main portion of the film, a few months elapsed before Robinson and Bannerman were required to film a few crucial additional scenes. During this break, Robinson became a father. He reflects, “I viewed everything in a whole new light. I realized that I could never treat my son with such strictness and harshness. It’s difficult to admit fault and try to hide it, but I can empathize with how Izi reached that point.”
Throughout the majority of the movie, Izi shows little interest in getting to know Benji. As a result, Benji turns to a nearby gang, led by Staples (Hope Ikpoku Jr), who holds a contrasting attitude to Izi’s. Staples invites Benji to become a part of his group of orphans and encourages him to participate in their struggle to remain in the Kitchen. For Kaluuya and Robinson, this is a significant recurring theme in the film. Will you stand with us, or will you turn away? Do you abandon the situation when you have the opportunity to make it better?
Kaluuya asks, “Why do you desire improvement?” He explains, “That’s my focus. I have seen numerous films about working-class individuals, and the underlying message is always, ‘Where we come from is terrible.’ It’s as if the writer is saying, ‘I am so glad I escaped. Look at what I escaped from.’ The ultimate goal is leaving, that’s considered an achievement. With Izi, instead of his goal being leaving, I wanted to explore his starting point of wanting to leave and examine what kind of person he is. I wanted to see his growth and what could potentially draw him back. It’s like The Wizard of Oz, where there’s no place like home…”
According to Robinson, living in London means being surrounded by young boys who constantly talk about their desire to leave their neighborhood. They aspire to play football or become musicians in order to escape the area.
“I understand,” Kaluuya states, “when individuals have motives to depart. However, it’s the question of: ‘Do you not enjoy it? Do you not admire its elegance, the perspective of its origin and your purpose?’ The bond that we share? Why can’t we simply be ourselves?”
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Aluuya was raised in Camden/Kentish Town by his Ugandan mother, who is employed at a school for special educational needs. He also has an older sister. Despite his success, he chose to remain living on his estate, Camelot House, for many years. He had his own small flat there and would occasionally leave for months at a time to pursue acting jobs before returning.
However, over time, he discovered that this strategy was no longer effective. His friends advised him to leave, as things had changed and people were moving on, with new residents moving in. Due to the bedroom tax, families were unable to afford staying in their larger homes once their children moved out. As a result, they were forced to downsize and leave the neighborhood. Slowly, he came to the realization that he also needed to move out.
“I was among the few who chose to stay instead of leaving,” he explains. “While everyone else put in effort to leave, I put in effort to stay. But when everyone else had departed, I questioned my reason for staying. Was it for the location or the people? I came to the realization that it was the people. And without them, there was nothing left for me there. However, for a child currently residing there, there is still something special about that place.”
Robinson hails from East Ham and was raised by his Jamaican parents along with his brother at 69 Manor Road. He mentions this in his song “T-Shirt Weather in the Manor” and later moved to 86 St Olaves Road. The house was a small terrace with a backyard where he spent his teenage years. He has fond memories of this place.
“We removed the fence in the middle between our house and our neighbor Teresa’s house, along with her daughters Claire and Sarah,” he explains. “As I have gotten older, I have come to realize that my mother and Teresa used to help each other. If one of them didn’t have money, the other would do the grocery shopping and then we would share. Sometimes it would be the other way around. They would come through the back and have dinner with us. That was how we functioned. It was how we grew up. But now, you will never see that kind of relationship with neighbors anymore.”
Robinson has always recognized the significant impact his upbringing has had on his identity. This can be seen not only in his music lyrics, but also in his YouTube series, Newham Talks, which he created during lockdown. In this series, Robinson interviews other artists from his local area, many of whom are popular in the grime genre. He consistently delves into their personal backgrounds, as he believes his own upbringing holds great importance to him. If he were in a different line of work, he is unsure if he would have chosen to relocate.
However, eventually, like Kaluuya, he did make a change. And several of their acquaintances also pursued their passions in areas such as acting, music, and football, which were seen as viable options. This was partly due to the attainability of these pursuits, but also because they were perceived as “cool,” according to Kaluuya. “They’re the things you aspire to be.”
Kaluuya began his acting career at the age of 13. He was known for causing trouble and being both loud and intelligent in school. At nine years old, he entered a playwriting contest and his winning piece was staged at the Hampstead theatre, despite his teachers’ objections due to his disruptive behavior. At 13, he enrolled in the Anna Scher theatre school after his mother was informed about it by a plumber.
Scher, who started her open-to-all theatre school in 1968, and who only quit teaching in 2020, died last year. Kaluuya says he learned everything from Scher’s Saturday morning acting sessions. Mostly because he’s never had a tougher audience: “Everything was completely improvised, and if you were rubbish, they’d just laugh at you. And if you were boring, then they’re playing Snake [a phone game].”
Kaluuya discovered that he had to earn people’s attention, rather than feel entitled to it. He realized this through his three years of weekly improv classes with Anna Scher, where he learned to think on his feet and create stories in the moment. He continues to apply some of the techniques he picked up there.
He also attended acting classes at Camden Roundhouse and has recently started organizing a similar program for children in the area.
“I offer classes at a cost of £2,” he states. “Many of the inexpensive acting classes I attended as a child are no longer available. People tend to complain, but I prefer to take action. So when I was asked to become the associate artistic director at the Roundhouse, I accepted and am determined to make a difference.”
However, it was Anna Scher who held a special significance to him. One of the enduring lessons from his time there was Scher’s belief in collectivism. She instilled in her students the idea that if one of them succeeded, they all succeeded. No one in the room was seen as competition, even if they were vying for the same role. This lesson has stayed with Kaluuya in his acting career. He approaches each project with a sense of collaboration and teamwork, knowing that if one person falls short, it reflects on the entire team.
Robinson agrees. During his youth, he excelled in playing football for junior teams at Chelsea and Norwich City before the age of 13. However, he explains, “although football is a team sport, I truly felt like a member of a team with Deja Vu, the pirate radio station. Much of what you’ve described is similar to my experiences with music and pirate radio.”
The inspiration for Deja Vu was the rooftops of Hackney Wick, where a variety of grime and rap artists would come together to perform. These included well-known names like Kano and Dizzee Rascal, as well as Ghetts, Tinchy Stryder, Lethal Bizzle, and others. Robinson first attended when he was 15 years old. It was a place for individuals to freely express themselves and collaborate with like-minded people, performing back to back and sharing a microphone. The aspiring rappers would spend time together, even going to each other’s homes to write. They pushed each other to improve their skills, often sitting together with notebooks and a beat playing in the background. Despite being able to work on their own, there was something special about coming together in a creative space that fueled their success. They were able to do it all independently.
He did not experience the same level of passion in football as he did with music. He found that with music, he woke up thinking about it and it taught him to be self-sufficient. He would save money to pay for studio time, play his tracks on Deja, and if they were successful, he would press a hundred records and take them to shops on a sale or return basis. When he reflects on this time, he becomes animated and describes it as “beautiful” with “small steps” taken towards his goals.
He expresses that music has influenced his approach to acting. As a writer, he believes in staying true to his creative identity even when working in a different medium. He approaches his roles with the same mindset and immerses himself in the world and lines to fully embody the character. By believing in the role, he is able to make the audience believe as well.
Music is an integral part of both Robinson and Kaluuya’s lives. When asked about staying connected, Robinson explains that Kaluuya often invites him to parties and he attends if he is available. Kaluuya jokingly adds that Robinson only shows up if he happens to be free. They also bond over their shared love for music and mention an artist named Tobe Nwigwe from Houston, Texas, whom Kaluuya discovered on Instagram during lockdown. Kaluuya reached out to Nwigwe and they have since become friends, with Nwigwe visiting Kaluuya whenever he is in London. According to Kaluuya, Nwigwe is a very cool guy.
Music and film and football, a bit, though Robinson doesn’t care about it much any more, and Kaluuya, a huge Arsenal fan, can’t watch matches, because he gets too wound up… And then the time is up, and they have things to do, and they laugh their way out of the room, which feels frou-frou and curly and quiet and boring, after they leave.
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The film “The Kitchen” is currently showing in select cinemas in the UK and is also available for streaming on Netflix.
Source: theguardian.com
