Table of Contents
Three Key Takeaways
- Clout is a modern fable about the perilous quest for online fame, inspired by the classic tale The Boy Who Cried Wolf.
- The film’s production overcame significant logistical challenges, including securing historic locations and executing complex stunts with unexpected moments of serendipity.
- Jordan Murphy Doidge emphasizes collaboration and social commentary through cinema, with Clout serving as a springboard for future socially conscious storytelling.
Jordan Murphy Doidge’s short film Clout is a striking exploration of social media’s impact on youth, following a young boy who risks everything for online fame.
Featuring a powerhouse cast including Archie Yates (Jojo Rabbit), Anna Wilson-Jones (Black Mirror), Nadine Marshall (Tatami), and TikTok personality Kit Price, Clout brings together established talent and fresh faces.
Selected for Nòt Film Fest, the film marks a compelling debut for Doidge’s immersive storytelling style, blending magical realism with urgent social themes.
Q&A Interview
What drew you to make Clout? Why this story, and why now?
The origins of Clout emerged after I became hyper aware of the damaging impact social media is having on today’s youth, especially my younger siblings. As the eldest in a large family, I witnessed first-hand how it took hold during lockdown. We began exploring how we could weave this into a modern fable that would resonate with a wide audience. We were drawn to The Boy Who Cried Wolf - it struck us as a powerful metaphor for the dark nature of social media.
What surprised you most about the filmmaking process this time—creatively or logistically? Was there a moment on set or in post that completely changed how you saw the story?
This was a particularly difficult shoot to get off the ground, given both the narrative and the world in which it is set. Convincing some of the world’s most prestigious schools to serve as the backdrop for our story was no small feat. After rallying alumni, we eventually managed to secure Harrow School that educated the likes of Winston Churchill, Richard Curtis and Benedict Cumberbatch.
The production itself took three separate start–stops in total. There was a great deal of serendipity along the way. Convincing agents and parents that we intended to drown their client or child was always an interesting conversation. One pivotal moment came when I broke down at Gatwick Airport: out of nowhere, Chelsea Mather appeared like something out of a fairytale and helped me jump-start the car. As we got talking, she told me that she had just returned from filming stunt work on the latest Bond movie. I couldn’t believe it – the final missing piece of our film was a drowning stunt. She fixed my car, we exchanged numbers, and eight months later we were shooting together.
Casting Archie was another stroke of crazy luck. When writing the script, Tom, Tristam and I said, “Wouldn’t it be perfect if we could get Yorki from Jojo Rabbit with the thick-rimmed glasses – to play Oskar?” Fast forward to casting: I sent a brief to our CD, Georgia Topley, with Archie as our dream choice. She replied, “I cast Archie in Jojo Rabbit!” He was attached 24 hours later - kismet.
“The Boy Who Cried Wolf struck us as a powerful metaphor for the dark nature of social media.”
Is there a moment in the film that feels the most you—something only you could have made?
There’s a moment in the film where we feature The Deluge by J. M. W. Turner, just before the climax. It serves as a metaphorical reflection of the film’s themes.
It’s difficult to say this is something only I could have made. We draw inspiration from so many places – across art, culture, and life itself. At its core, I simply wanted to capture a feeling – an emotion that might encourage the audience to reflect on their own lives and their place within the world. Cinema, to me, is a powerful form of social commentary – a kind of Trojan horse – which is why I’m so drawn to stories with impact. If I can take any credit from this project, it’s in bringing together a remarkable team of creatives who helped make something we can all be proud of.
We were meticulous in our preparation. Every detail was designed to serve the story. With our production designer, Collette Creary-Myers, we used the visual world to foreshadow narrative beats. Our DP, Amelia Hazelrig, and I spent months crafting the shot list to ensure each frame carried the emotional tone of its scene. Costume design by Natalie Caroline Wilkins was equally considered, with subtle touches that gave each child a distinct identity – as they so often have in life.
In post-production, Rebecca Lloyd brought a deft and sensitive hand to the edit – she instinctively understood the heart of the story. The score, composed by Olly Clarke and James Larter, added a subtle yet moving foundation, while the sound design and mix by Ines Adriana elevated the entire piece – she truly brought it to life.
This crew has been nothing short of phenomenal. The film has taken on an even deeper meaning for all of us, especially with the support of our charity and cinema partners, who are helping ensure it leaves a genuine, positive impact.
What was the hardest creative decision you made while making this film?
Cutting the opening scene - we had spent months looking for the perfect school chapel - after many miles driven we secured Harrow School’s gorgeous Chapel - It was beautiful but it just didn't work in the edit - pacing was way off and it just didn’t service the story and so after a lot of back and forth with our incredible editor Rebecca Lloyd - we said lets just try and cut it out and see how it feels - frustratingly it was better. This happened a lot throughout the edit - we had such wonderful locations and rich performances from all the cast however we just couldn’t fit it all in - I guess its having to work to the limitations set with runtime and servicing the story within a short film format - as much as I’d love to have made a feature film!
“Convincing agents and parents that we intended to drown their client or child was always an interesting conversation.”
What do you hope audiences take away from your film?
We set out to make a film that would spark meaningful dialogue with the very people who need it most - young people. And in a format where they speak directly to parents and adults about the impact mobile phones and social media are having on their lives. This issue doesn’t exist in a vacuum - it’s a global problem. And unless we act soon, we risk losing something precious: the magic of childhood - innocent, unfiltered, and free.
How has this film shaped or shifted the kind of stories you want to tell next?
I’ve learned a great deal through this narrative endeavour - there’s a powerful energy that emerges through true collaboration. At our best, we’re all simply conduits, in service to the story. I firmly believe cinema is as vital to culture as politics - it gives voice to the people. That’s why I feel compelled to tell stories that explore social commentary, but through a lens of magical realism.
I’ve recently written a play titled Triage, which follows a young boy over the course of a night in an A&E waiting room. I plan to adapt it into an independent feature. The piece explores themes of addiction, abuse, and inequality, which gradually unfold into a ghost story - subjects that feel both urgent and deeply personal to bring to the screen.
“Cinema, to me, is a powerful form of social commentary – a kind of Trojan horse – which is why I’m so drawn to stories with impact.”
What’s a tool, technique, or resource that really helped you during production?
Same as my previous answer - the spirit of collaboration has been invaluable - it truly takes an army to bring stories to the screen.
Independent filmmakers often rewrite the rules out of necessity. What do you think is the greatest strength of independent filmmaking, and how did you lean into that on this project?
Working under the pressures of tight budgets and challenging schedules often forces you into corners that can only be navigated through creative thinking - I think that’s the very essence of independent filmmaking.
“We set out to make a film that would spark meaningful dialogue with the very people who need it most – young people.”
What does it mean to you to have your film selected for Not Film Fest?
It’s such an incredible opportunity to screen our film alongside so many talented and passionate filmmakers and film lovers - a true pleasure, something I’m extremely grateful for.
How do you hope being part of Nòt Film Fest will shape the life of this film?
Being selected lends real credibility to the film, and I hope it serves as a mark of quality as we announce its release and continue on our festival journey.
“The spirit of collaboration has been invaluable – it truly takes an army to bring stories to the screen.”
Where do you see this film going next?
We’ve been selected for several more festivals, which is incredibly exciting - it’s a real privilege to be able to share our film with audiences around the world. We also have a UK Q&A cinema release with my favourite cinema of all time, EVERYMAN - a dream come true! A feature who knows....always open to explore more with this topic.
“Working under the pressures of tight budgets and challenging schedules often forces you into corners that can only be navigated through creative thinking – I think that’s the very essence of independent filmmaking.”
"At the core of all my work is a desire to spark meaningful conversation."
Cast & Crew
- Samuel Leakey — Known for Gretel & Hansel.
- Jimmy Essexs — Known for The Sandman.
- Obi Oleforo, Ashwin Chandrasekaran— Breakout newcomers, including TikTok personality Kit Price.
- Collette Creary-Myers — Production Designer.
- Amelia Hazelrig — Director of Photography.
- Natalie Caroline Wilkins — Costume Designer.
- Rebecca Lloyd — Editor.
- Olly Clarke and James Larter — Composers.
- Ines Adriana — Sound Design and Mixing.
For more on Clout, visit the film's official website.
