"I have an idea of a young boy growing up in a tough mining village who wants to be a ballet dancer …."

Greg Brenman (Head of Tiger Aspect's Drama Department) was immediately excited by the one-page synopsis brought in from writer Lee Hall.  The script was developed with Tessa Ross at BBC Films and when Brenman felt it was ready he contacted Jon Finn who was heading up WT2, (a division of Working Title Films).

The inspiration to write the story came in a flash to Hall while living in America and writing about his own childhood. He was also interested in writing about the 1984 miners' strike, which for him was one of the defining moments in British history since the war.

"I wanted to write about it obliquely by looking at the various tensions within the community which were crucial in determining the strike's failure," Hall said. "The story sort of wrote itself once I had the image of the kid at odds with his family and the community and pitted against a larger, hostile world."

The strike had affected everyone living in the North East. "It was a class war where the state was mobilized against a small group of people. It left me with a sense of indignation which has fuelled much of my work," reflected Hall. His reference to Arthur Scargill, leader of the striking miners who took a stand against the government for closing down the coal pits, examines issues of culture and identity and is not meant to make any political point.

"If there was to be a message, it would simply reiterate the sentiments of Arthur Scargill," said Hall, "Which basically suggested that creative people are left dormant because we, as a society, have no idea or ambition how to tap into them and that we are poorer for it."

What Hall did need to research further was ballet so he visited the Royal Ballet School to interview dancers hailing from small villages like Billy. The story gestated for about a year, mostly because Hall was working on other projects, then in a flurry of inspiration, he completed the first draft in three weeks.

"Lee's screenplay was wonderfully moving and powerful. It was also very funny. Thankfully, Jon was as taken by it as us and together we approached Stephen Daldry to direct the film."

For Jon Finn, there was a deep connection to the story. "My grandfather was a miner and I know those communities well. In fact, all the family on my mother's side worked in the pits in the area where we filmed. I also knew the feeling of leaving a tight knit community because I was the first person in my own family to leave home and go to college," revealed Finn.

Stephen Daldry makes his big-screen debut with BILLY ELLIOT.

"I knew immediately that I wanted to direct this film by the simple fact that the script moved me. It made me want to read it again," confirmed Daldry. And he considered Hall the perfect scribe for the tale,  "When I was running The Gate Theatre in Notting Hill, I worked with Lee and realised all those years ago what great talent he had."

Daldry was attracted to the story by its universal theme. "I think it's easy for people to identify with a story of struggle of any individual, in this case a young child trying to find a way to express himself in difficult circumstances. The audience will be able to relate to their own battles in childhood," said Daldry.

Lee Hall reiterated the point: "It is about wanting something better and doing everything you can to achieve it. I think everyone has a secret ambition and will be able to connect to Billy's determination to fulfil his."

Hall's style acknowledges his heroes in filmmaking. "I deeply admire Bill Douglas, Ken Loach and Victor Erice and their work with children. I've paid them many moments of homage in the script," commented Hall.

"It's a coming of age story about someone who finds beauty and reason for his life. It has great music and dancing too, and is funny and coarse but should also make you cry."