With a career spanning some of television’s biggest productions, Jackie Okwera is now developing her debut feature film with support from the BFI NETWORK Early Development Fund.
Fake is a
gripping psychological thriller about deepfake technology and the devastating consequences of losing control of your own story.
We caught up with Jackie to explore the real-world fears behind this project, her fascination with flawed characters, and her advice for filmmakers applying the
BFI NETWORK Early Development Fund (closing Wednesday 11 November).
Jackie Okwera is a screenwriter with several projects in development, including a comedy-drama for ITV and her first feature film with the BFI. Her credits include Constantine (Bad Robot/DC Comics/HBO), The Mallorca Files (Amazon Prime) and Emmerdale (ITV). She has also worked in writers’ rooms for HBO, Apple TV, Disney, Netflix and Sky.
Before moving into screenwriting, Jackie spent more than a decade in TV and film development. She began her career as a script editor in continuing drama before taking on development roles at several of the UK’s leading independent production companies. Jackie has been a BAFTA member since 2018 and was named one of the Edinburgh TV Festival’s Ones to Watch in 2021.
Can you tell us a bit about Fake and where the idea came from?
When explicit deepfake videos shatter the carefully constructed life of a successful black woman, she launches a desperate hunt for the person responsible. As she fights to protect her family and reputation, she is faced with a devastating secret from her past that she can no longer hide from.
Fake is a psychological thriller set against the chilling rise of deepfake technology. It’s also about power, identity and the lengths we go to for the people we love. But, at what point does protecting someone become a way of hiding the truth? And what happens when that protection does more damage than the truth itself?
The idea came from my concern of deepfake technology, particularly image-based abuse, which disproportionately affects women. It's becoming harder to know what to believe, and once an image or video is out there, trying to reclaim your identity and get justice can feel almost impossible.
I was also interested in the idea of the “perfect victim”. Who gets believed and why? We often make judgements about people before we know their story, based on who they are and how they live. Fiona, my main character, is a victim, but she is flawed. I wanted to explore that contradiction because being flawed doesn't mean she deserves to have this done to her. It may complicate the way we see her, but it doesn't make the abuse any less real.
What do you hope audiences take away from the story?
I hope Fake makes audiences think about how much of their lives they give away without really thinking about it. We tend to blame the big tech companies, and rightly so, but I think we also need to look at the people around us. Sometimes the harm comes from our own communities or even our families, often without them understanding what they’re doing. You see it all the time on social media: a story takes hold, people repeat it, and make judgements in the comments section, but very few stop to ask whether it’s actually true.
With Fake, I wanted to explore how that happens, how easily someone else can shape the way we see a person, and how difficult it can be to put things right once a version of the truth has taken hold.
You’ve written across very different genres, from soaps to psychological thrillers. Does your approach to writing change when moving from one genre to another?
I think my approach is similar whatever the genre. I’m a character-driven writer, so I start with someone who fascinates me and then the type of story I’d like to explore through their journey. This helps me figure out which genre feels right for them.
What changes in my approach is the way I tell the story. In comedy-drama, I look for humour and pathos in recognisable human behaviour. With Fake, the psychological thriller form lets the audience experience Fiona’s fear and disorientation as her life begins to unravel. As the events escalate, the audience will be on the edge of their seat and then comes the thrill as they watch her fight back to get justice and reclaim control of her life.
Your background is in script editing and development – what lessons have stayed with you and influenced the way you approach your own writing?
Throughout my career in development, I’ve been fortunate to have worked with some incredibly talented writers. Early on, Jimmy McGovern gave me a piece of advice that’s stayed with me: “complexity of character, simplicity of plot”. Whenever I’m stuck, I come back to that. It helps me work out what the story is really about and what I can strip away.
Working in development has also taught me how important it is to listen to notes without getting defensive. Sometimes the note itself isn't the answer, but it points you towards something that isn't working. I know how to look for the note beneath the note and work out how to address the problem without losing sight of my original intention.
What advice would you give filmmakers applying to the BFI NETWORK Early Development Fund?
Apply! I wasn’t sure if my idea would be something the BFI were looking for, but here I am.
So, really think about your idea and why it matters to you. Why are you the person who needs to tell this story, and what do you want to get out of the fund? You don’t need to have everything figured out yet as you’ll be given the space to keep developing your story.
Working with my executive, Jen Bradfield, has been a fantastic experience. She’s challenged me to look at the story differently, while giving me the support to work through what wasn’t quite there yet. It’s helped me get a clearer sense of the film I want to make, and I’m excited to see what’s next for Fake. Hopefully, you’ll get to see it on screen one day.
Early Development Fund
The BFI NETWORK Early Development Fund supports writers in the North through the initial stages of development for debut long-form projects. You can apply for funding between £3,000 - £5,000 to support a writer’s allowance (to cover your time invested in the early stages of project development) and more.
The fund closes Wednesday 11 November at 11am.
