"The genesis of 'Sweet Sixteen' may have been back with them a king of 'My Name is Joe'," says writer Paul Laverty. "When you're im a gining a story there are often dozens of characters screaming for attention, all saying'me, me, me, me'. We can't feed them all otherwise the story will collapse. But there was one persistent characterwho would not give up or shut up. He demanded our attention." That voice became the character of Liam.

"Paul and I made 'Bread and Roses' in L.A. and thought it would be good to do another ffim on home ground," explains Ken Loach.

"We went on a trip at Paul's instigation to Greenock which is a town just along the Clyde from Glasgow. The scenery is spectacular, which is more than can be said for the job opportunities since the shipyards closed."

Laverty began his task by spending lots of time with young people.

"For some time I'd been talking with Ken about doing another very personal story; about how one young person tries to make sense of his life. It's as simple and as complex as that. Friends, family and community connect or smash up against each other in endlessly complex patterns. Liam is at a delicate point in his life. Some things just don't fit, though he is absolutely determined to use his considerable talent and cheek to make them do so."

"What struck me," says Laverty,"From talking to lots of carers who work with children (either in children's homes with foster carers or even secure accommodation) was that, no matter how chaotic the family home, most were still determined to make contact with their mother. There's something extra concentrated about adolescence. There's a special energy which can be exhilarating or explosive. Fragility and often a wild courage, even if misplaced, can sit easily side by side. We were keen to try and capture some of those qualities in our story."

"During auditions we worked with hundreds of young people in sports clubs, schools and community groups," explains researcher Pam Marshall. "A lot of the teenagers had never acted before and were quite nervous. I was amazed at how they surprised themselves. Everyone was able to jump in and have a go. I don't think they expected to get caught up in the improvisation. That was very exciting."

The sense of place is probably stronger in Greenock and Port Glasgow than many towns. The river itself has such presence. Its shipbuilding history, which once provided work for tens of thousands of men, is implicit; monster sized cranes still dwarf the new call centres built along the banks. The wind from the West, the open expanse of water and sharp rising hills of the town also dictate a tough windswept climate. In his highest and lowest moments, Liam is drawn to the river. It's where he can dream and let his imagination run wild; and where he has to reflect on the choices he's made which will change his life for ever.

Ken Loach (Director)

Filmography: The Navigators (2001), Bread and Roses (2000), My Name is Joe (1998), - Carla's Song (1996), Land & Freedom (1995, Ladybird Ladybird (1994), Raining Stones (1993), Riff Raff (1990), Hidden Agenda 1989), Fatherland (1985), Looks and Smiles (1980), The Game Keeper (1979), Black Jack (1978), Days of Hope (1974/6), Family Life (1972), Kes (1970), Poor Cow (1968), Cathy Come Home (1966), JP the Junction (1965). Since 1964 Loach has also made many dramas for te!evision and documentary films.

Paui Laverty (Writer)

Paui Laverty worked as a lawyer in Giascow and then for a human rights organisation in Central America before turning his hand to screenwriting. This is his fourth collaboration with Loach, "We are always talking about different possibilities but in the end you have to Put something down on paper, " says  Laverty. "You need something concrete, whether it's just the age, gender, or where he character is from. It's often good just to write a scene or two to give them a voice. Then you have some sense of forward motion, even if it's to work against what's on paper."

After much discussion Laverty and Loach decide if the idea is worth pursuing. 'It's got to motivate both of us, give us that little spark. If it passes the great cup of coffee test and we feel there is some energy to it then I'll get stuck in." Once some research has been undertaken, Laverty introduces Loach to some of the people hie has met. It's a way of becoming familiar with the territory and subject matter," says Laverty. I'll send a first draft much earlier to Ken than I probably would to others. We've been working together for a long time and I've got a lot of confidence that well' just test it, probe it for all its inconsistencies which might lead us off elsewhere.

"I should also mention another key figure in the ' process - Roger Smith, the script editor. He sees the script with a fresh eye and I think he is  wonderful homing in on the weak bits and asking all the touch questions. Even the casting helps refine the characters so it all changes gradually." Once the filming has started the script still continues to develop. It's a process that doesn't really stop"

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