Noel Clarke accused of groping, harassment and bullying by 20 women
When Noel Clarke appeared on stage at the Royal Albert Hall on 10 April to collect his Bafta, the typically self-assured actor looked a little on edge. Viewers might have concluded that Clarke was simply overwhelmed: he was clutching one of the most prestigious accolades bestowed by the British Academy of Film and Television Arts, the prize for Outstanding British Contribution to Cinema.
Yet there were other reasons why Clarke – and Bafta – may
have felt preoccupied.
Thirteen days before presenting Clarke with his award, a
Guardian investigation can reveal, Bafta was informed about the existence of
several allegations of verbal abuse, bullying and sexual harassment against
Clarke.
Bafta does not dispute it received anonymous emails and
reports of allegations via intermediaries, but said it was provided with no
evidence that would allow it to investigate.
Clarke also became aware of the allegations, which he
vehemently denies. As he stepped off the stage holding his gong, Clarke’s
reputation remained publicly unblemished; not just as an actor, producer,
screenwriter and director, but one who could now claim to be one of British
film and television’s most lauded stars.
Yet Bafta’s decision to venerate Clarke moved numerous women
to break their silence. They allege Clarke is a serial abuser of women, using
his power in the industry to prey on and harass female colleagues, and
sometimes bully those who fall out of favour.
The Guardian has spoken to 20 women, all of whom knew Clarke
in a professional capacity. They variously accuse him of sexual harassment,
unwanted touching or groping, sexually inappropriate behaviour and comments on
set, professional misconduct, taking and sharing sexually explicit pictures and
videos without consent, and bullying between 2004 and 2019.
Clarke said in a statement: “In a 20-year career, I have put
inclusivity and diversity at the forefront of my work and never had a complaint
made against me. If anyone who has worked with me has ever felt uncomfortable
or disrespected, I sincerely apologise. I vehemently deny any sexual misconduct
or wrongdoing and intend to defend myself against these false allegations.”
Through his lawyers, Clarke categorically denied every
allegation that the Guardian put to him, bar one, accepting he once made
inappropriate comments about one woman, for which he later apologised, but
denying the rest of her complaints. In a 29-page letter, his lawyers said he
categorically denies all of the other allegations, from all 20 women, in some
cases questioning their credibility. They deny their client is a serial sexual
predator.
Bafta confirmed in a statement that, following its 29 March
announcement that it planned to give Clarke the award, it received “anonymous
emails and reports of allegations via intermediaries, but no evidence was
provided”. Lawyers for Bafta said the charity had no duty to investigate
Clarke, but, in any case, it was never given any information to enable it to do
so and at no stage was it in a position where it could even begin to consider
investigating.
“We take this matter extremely seriously,” Bafta added. “We
encouraged the people who contacted us to report the matter to the appropriate
authorities and also engaged an independent victim support expert to provide
them with professional advice, and that support remains in place.
“We will continue to review this matter, and should any
allegations be substantiated we will take appropriate action.”
After this article was published, Bafta updated its statement.
“In light of the Guardian’s piece, which for Bafta provided for the first time
detailed accounts outlining serious allegations regarding Noel Clarke’s
conduct, we have immediately suspended the award and Noel Clarke’s membership
of Bafta until further notice.”
Clarke is one of the most prolific actors and film-makers in
the UK. His trio of films Kidulthood (2006), Adulthood (2008) and Brotherhood
(2016) were celebrated for their portrayal of inner-city life and grossed
£8.6m.
Clarke writes, executive produces and stars alongside Ashley
Walters in Bulletproof, one of Sky’s biggest shows; series 4 is in
pre-production. His company, Unstoppable Film & Television, has produced
more than 10 films, in addition to Bulletproof and the Channel 5 drama The
Drowning. He is on Bafta’s influential film committee and is a mentor for ITV,
bringing him into contact with young, aspiring screenwriters. Only this week,
Clarke has been starring in ITV’s new flagship prime time drama, Viewpoint,
airing each evening from Monday to Friday.
Gina Powell worked for Clarke as a producer between
September 2014 and March 2017, producing Brotherhood. She told the Guardian
that Clarke would constantly harass her, on one occasion telling her that, when
he hired her, he had planned “to fuck her and fire her” before deciding to keep
her on. She also alleges that Clarke would brag about storing sexually explicit
pictures and videos on his hard drive, including footage he told her he had
secretly filmed during naked auditions.
Powell says Clarke once showed her a secretly recorded video
of one such audition with Jahannah James, an actor in Brotherhood. Powell told
four people about Clarke’s alleged secret filming, all of whom confirmed the
conversation to the Guardian. They include James, her friend, whom she told
about the incident in the winter of 2017, in a pub in south London. The naked
audition had taken place more than four years previously, for the film Legacy.
Powell was able to describe the exact haircut James had at that time – her hair
is usually long and blond, but after a “hair disaster” she had cropped it short
and returned to her natural brown.
James recalls Clarke had talked her into auditioning for the
role. She had been hesitant. She was only 23 and fresh out of drama school. But
Clarke persuaded her, explaining that the naked audition wouldn’t be filmed; an
email from her agent confirmed this agreement. “I was told 100% it was not
going to be on camera,” James says. As she understood it, the naked audition
was purely to check she could do the scene and wasn’t going to “bottle it” on
the day.
The audition was mortifying, James recalls, and afterwards
she pulled out of the running for the role; she didn’t want one of her first
acting jobs to be nude. The Guardian spoke to two friends of Powell and James
who were also present in the pub that day and recalled the emotional exchange.
“I was so upset,” James recalls. “Now, years later, I still cry when I talk
about it.”
Clarke denies ever covertly filming naked auditions or
sharing such footage with Powell. A casting director who was present at James’s
audition said there was “absolutely no way” Clarke would have covertly filmed
it, even without her knowledge. “He’s always been a good guy,” she said.
The Guardian also contacted others who worked with Clarke
who either declined to comment or spoke positively of him. They include a
makeup artist who said she had had “a really great working relationship with
Noel” on the projects they had worked on together, and an actor who said
suggestions of misconduct did not tally with her experiences of Clarke, whom
she described as “generous and supportive”.
Others said Clarke was supportive of fellow actors, but at
times sought to exploit those relationships.
Clarke helped James get into drama school, when she was 22,
and secured a discount on her fees. After she finished, in the summer of 2012,
she says, Clarke joked about going upstairs to have sex in a hotel where they
were meeting. She believes she and other alleged victims were “young and naive”
when Clarke gave them professional opportunities and “that’s why this has taken
so long to come out”.
Powell and James were initially reticent about making public
accusations against a man they believe wields considerable power in their
industry.
Despite this, Powell and James, and several of the women the
Guardian spoke to, have agreed to go on the record with their real names,
hoping that doing so will ensure they are believed. Others, including
well-known actors, wish to remain anonymous – their pseudonyms are marked with
an asterisk. The women work at almost every level of the film-making hierarchy
and represent a range of races and ethnicities.
“I want people to know, because I hate the idea that he can
secretly film young actresses – who have no idea that they’re not supposed to
be getting naked in auditions – and go on to get a Bafta,” says James.
According to numerous accounts, Clarke showed colleagues
sexually explicit photos and videos of women, or implied he had access to them.
He is also accused of unsolicited sharing of sexually explicit images.
Through his lawyers, Clarke denied in the strongest possible
terms that he ever sexually harassed or bullied Powell, or treated her in the
way she alleges. They said Clarke does not have a hard drive containing naked
photographs of women and denies covertly filming naked auditions, including one
of James, or showing such footage to Powell. They described such allegations as
false and defamatory.
The Norwegian film producer Synne Seltveit met Clarke in
July 2015. She is friends with Powell from film school. Powell introduced her
to Clarke at the private members’ club Soho House in London, where Unstoppable
held business meetings. Clarke and a friend had VIP tickets to a UFC mixed
martial arts fight in Glasgow and invited Powell and Seltveit. At the
afterparty, Seltveit says, Clarke smacked her buttocks. “I didn’t like that,”
she says.
On 23 July 2015, Seltveit sent an email from her production
company account, thanking him for the weekend and expressing an interest in
working with him one day. Clarke replied, from his Unstoppable account. “Great
meeting you,” he said. “Would love to work with you one day.” A second email
arrived. “Also. Sent you some Snapchats. Have a look.” When Seltveit checked
Snapchat, Clarke had sent her a picture of a naked, erect penis.
Clarke denies he slapped Seltveit’s backside and said he did
not recall sending her an unsolicited picture of his penis. His lawyers said it
was “highly unlikely” that Clarke would have shared such an image. Seltveit
showed the Guardian a copy of the “dick pic”, which was labelled as having been
shared with her by Clarke.
Another woman to accuse Clarke of inappropriate sharing of
images is Ieva Sabaliauskaite, a production assistant on Brotherhood. At the
wrap party on 21 December 2015, Sabaliauskaite was on the dancefloor, showing
colleagues her abilities as a former gymnast, including doing the splits. The
next day, Sabaliauskaite saw Clarke in the production office, surrounded by a
group of people. “They were sniggering and looking at me,” she says.
Sabaliauskaite says Clarke was showing them a photo he had
taken of her in a compromising position, her underwear visible. Three other
witnesses told the Guardian they recalled Clarke boasting about his photograph
of Sabaliauskaite. Sabaliauskaite says she remembers the image of her knickers
on Clarke’s phone so clearly that she “could draw it”. She recalls feeling
mortified: “It’s kind of a massive humiliation.”
She instinctively lunged for Clarke’s phone; the phone
dropped, breaking the screen. “He was angry,” she recalls. Sabaliauskaite says
she took the phone containing the photo he had taken of her, a junior employee,
to a repair shop to get it fixed. “It was the final act of humiliation,” she
says. Clarke’s lawyers stressed the photograph was of Sabaliauskaite publicly
doing the splits in the middle of the dancefloor and that it was not taken “up
her skirt”, adding that many people present at the party would confirm this.
Clarke, they added, had later merely “joked” about showing the image to
colleagues. They confirmed Clarke asked Sabaliauskaite to fix the screen,
saying she was “a production runner and such a task was part of her job”.
Several women also allege that Clarke would at times subject
them to unwanted physical contact, kissing them, groping them or subjecting
them to unsolicited sexual behaviour. They include Powell, who has given the
Guardian detailed accounts of events she alleges took place during a work trip
with Clarke to Los Angeles in August 2015. On one occasion, she says, Clarke
exposed himself in a car. She recalls telling him: “Noel, that’s not right.”
The next day, Powell says Clarke took her for lunch and
scolded her. “He told me I made him feel like an old man.” After lunch, Clarke
and Powell headed to a business meeting. Alone in a lift, Powell says she was
groped by her boss, who told her he had got “what he was owed”. Powell recalls
pushing him away: “I said: “‘That’s so not on.’”
Clarke’s lawyers strongly denied Powell’s account of the
alleged incidents in LA. They accused her of being flirtatious and suggestive
toward him.
Leila*, a crew member on a film that Clarke acted in and
produced, told the Guardian of a similar incident involving being subjected to
an unwanted sexual contact from Clarke, which she alleges took place in a
storage room on set. “He is a bully as well as a sexual predator,” she says.
Clarke’s lawyers said it was impossible for him to respond in any detail to the
allegation because of the lack of details provided, but that he strongly denies
the allegation.
Leila says she didn’t feel she could report the incident to
anyone on set, because Clarke was a producer, although she confided in her
boyfriend about the incident in 2018. (The Guardian has spoken with Leila’s
boyfriend, who remembers their conversation.) “It affects how you see yourself
professionally,” Leila says. “It feels so frightening to think I’d been used by
someone who could see that I was vulnerable.”
In 2004, Mel* acted in Clarke’s debut feature film,
Kidulthood. She was a teenager when she auditioned and was intimidated by
Clarke, who was a decade older than her. “He was an older man and he wrote the
script,” she explains. One day near the start of filming, she alleges, he “put
his tongue in my mouth”. After that, she says, the sexual harassment was
constant. Mel says Clarke would grab her as she walked past on set, touch her
waist and try to kiss her. She says she didn’t feel she could say anything, as
Kidulthood was Clarke’s film. “It’s upsetting for me to realise how fucking
vulnerable and inexperienced I was at that age,” says Mel. “I was too scared to
say anything.” Clarke strongly denies he sexually harassed or groped anyone on
the set of Kidulthood.
When Clarke started putting together Adulthood, which was
filmed in 2007, he asked Mel to appear in the sequel. “I read the script and
there was quite a full-on sex scene with Noel,” says Mel. Due to Clarke’s
history of sexually harassing her, Mel says, she didn’t feel safe filming a sex
scene with him. When she refused to do the scene, she says, Clarke threatened
her career. “He said: ‘You’ll never work again.’” She describes Clarke as a
“sexual predator”, adding that he “is toxic and hiding in plain sight”. Clarke
denies such a characterisation and making any such threat.
In summer 2008, the assistant film director Anna Avramenko
was an intern on the film Doghouse. Clarke was appearing in the film and
approached her on set: “He started trying to kiss me on the lips, in front of
everyone.” She says she made it clear to Clarke that she did not want him to
kiss her, turning her cheek and telling him she had a boyfriend. “He probably
tried it like three to five times with me, maybe more,” she says. Clarke
strongly denies the allegations.
Clarke’s alleged harassment involved women who worked in all
kinds of roles: from intern to actor to art director or producer. Becky* worked
as a crew member on a film Clarke made in 2011. One day, she alleges, Clarke
pinned her against the wall of his dressing room. “I made a split-second
decision that ‘being one of the boys’ was the best way to get out of the
situation, so I laughed it off and wriggled free,” she says. “But it made me
very uncomfortable and it was not acceptable.” Clarke’s lawyers said it was
impossible for him to respond in any detail to this allegation, given the lack
of details provided, but that he strongly denies the allegation.
People who have worked with Clarke describe him as someone
who will use his power as a director, writer and producer to target female
co-stars and crew, sometimes – they allege – introducing himself to female
colleagues by telling them he is a sex addict. Clarke’s lawyers dispute the
characterisation of their client as a powerful figure in the industry, saying
he worked his way up in the industry and was never in a position of complete
autonomy and authority.
The actor and screenwriter Jing Lusi, who has starred in
Crazy Rich Asians and Gangs of London, worked with Clarke on the film SAS: Red
Notice, shot in Budapest in 2018. Clarke invited Lusi for dinner on 27 November
2018. During the meal, Clarke summoned the waiter for the cheque before Lusi
had finished eating. She asked what the hurry was. According to Lusi, Clarke
said that he wanted them to go to his place to have sex. She recalls laughing
in disbelief. “He said he couldn’t help it: ‘It’s how you make me feel, I just
really want to,’” she says. “Really laying it on thick and grossly and quite
explicitly.”
According to Lusi’s account, when she made it clear she
would not have sex with Clarke, his demeanour changed. Lusi says: “After he
realised that it was not going to happen, he then absolutely without any
emotion [said]: ‘All right, fine, don’t tell anyone about this, yeah? ’Cause if
you do, it will get back to me, I will find out.’”
The next morning, Clarke sent her an emoji of a person with
their finger to their lips, which she took as an indication that she should not
tell anyone about his inappropriate behaviour. But Lusi did tell friends and
others how disturbed she was by the incident. A friend she contacted three days
afterwards recalls: “She messaged me and said: ‘Dude I’ve been #MeTooed at work
by another actor and then sworn to secrecy and threatened.’”
“I told everyone at the time, because I didn’t want Noel to
think he could do that to me, or anyone else,” says Lusi. “You can’t just
harass someone and silence them. I couldn’t do something about being sexually
harassed, but he couldn’t stop me speaking out about it.” Clarke strongly
denies he either harassed or threatened Lusi into silence. His lawyers
described events at the dinner as consensual flirting and said the emoji
related to Clarke keeping silent about their dinner because Lusi “did not want
people to know”.
On 14 January 2019, Lusi bumped into Clarke’s publicist,
Emily Hargreaves of Multitude Media, at a screening of the TV series Pure at
Bafta. Lusi recalls: “I said to Emily: ‘You represent Noel. He sexually
harassed me and threatened me.’” The next day, Lusi messaged Hargreaves,
suggesting they go for a coffee. Hargreaves did not take up the offer. Lawyers
for Multitude Media said Hargreaves “does not recollect” Lusi informing her of
allegations about Clarke.
However, the lawyers said that, over the weekend Clarke was
awarded the Bafta, Hargreaves was contacted by a client, an actor, who made
direct allegations against Clarke. Hargreaves took appropriate action, they
added, including steps to support her client. They said Hargreaves suspended
representation of Clarke on 11 April, pending an investigation. She formally
“terminated” her relationship with Clarke on Tuesday.
Several other actors who appeared alongside Clarke allege he
repeatedly sexually harassed them during filming. So, too, do female colleagues
in other roles. Chantal* worked with Clarke in the costume department of a
project he was acting in and also producing. It is industry standard for actors
to get dressed in trailers on set, but Clarke, she says, insisted on changing
in his hotel room. “Because he was the producer it was not really questioned,”
says Chantal.
Every morning, Chantal had to bring Clarke’s costume to his
hotel. “I felt uneasy,” she says. She would normally leave the room when talent
was getting dressed, unless a costume was particularly difficult to get into;
Clarke’s was easy to put on, but he insisted she remain in the room as he
changed. “He would say: ‘You stay here,’” she says. “I never said: ‘Oh no, I’m
going to go.’ Because he kept reminding me he was the producer. It would always
be like: do you know who I am?”
As Clarke got changed, she says, he would leer at her. “He
would say I had a really nice body and that, if he hadn’t married his wife, I
would have been ideal.” Clarke would sit next to her on set, talking about how
she looked “and how amazing I am”, she says, “and how he could make my career.
And then he would touch my knee.”
Chantal called her mother, stressed and upset. “I know my
daughter, and I know her voice, and I could feel she was really deeply
concerned,” her mother says of the phone call.
Clarke denies all of Chantal’s allegations; his lawyers said
he could not recall getting changed in a hotel room and asking someone to stay.
Clarke often writes explicit sex scenes and stars in them
himself. Critics have taken issue with the gratuitous female nudity in his
films and TV shows, naked women often appearing as little more than set
dressing. The opening scenes of 4.3.2.1 feature an upskirt shot of a young
woman; in Legacy, which Clarke produced, one of the female leads is fully nude
for most of her time on screen.
Helen Atherton was an art director on Brotherhood and
alleges that Clarke violated industry norms for the ethical filming of sex or
nude scenes. Clarke’s production team hired strippers to perform some scenes,
instead of professional actors who, Atherton says, would be aware of
industry-standard protocols during shoots involving nudity.
When actors are unclothed, monitors should be kept on to a
minimum – with just the director, producer, costume and makeup crew watching.
During filming of at least one nude scene in Brotherhood, Atherton says, the
actors did not feel protected.
“There were about 10 random people behind me, watching [on
monitors],” says Atherton. “It appeared they turned up to watch the naked
girls.” Atherton felt the female performers were being disrespected. “The duty
of care was not there for the girls,” she says. Clarke was the film’s writer,
director, star and producer and was the person directing the scene.
Clarke denies mistreating female actors during sex scenes
and insists the set was “closed”, with a very limited number of people present.
In a shoot on 1 December 2015, a female extra was straddling
a male actor on set. “The camera was right behind her,” Atherton recalls. “She
was completely naked. And I know for a fact we could never have used that shot,
because you could see up her bum hole.” The Guardian has spoken to other crew
members on Brotherhood who have a similar recollection of the straddling scene.
Atherton recalls another actor was asked to play with her naked breasts on
camera. “I remember thinking at the time: surely they wouldn’t be able to use
half the stuff they were filming.”
In disgust, Atherton texted her then partner. “Today they
had two really unnecessary naked girls, one playing with her boobs and one
straddles a bloke and bends over totally naked bum facing camera! It’s porn
basically! Neither added anything or were needed and they weren’t in the
script.”
Clarke’s lawyers said they did not dispute that such a scene
had been shot, but said it was in the script and agreed in advance. Informed by
the Guardian that there was no reference to a female performer straddling a
male performer, or anything that could be interpreted as requiring that,
Clarke’s lawyers queried which version of the script was being referred to and
said there was “a degree of improvisation” that performers and crew were all
comfortable with.
They said any shot of an actor’s anus caught on camera would
“never have intended to be shown” and the set was “closed”, with a very limited
number of people present. They said the actor playing with her breasts had been
improvising and rejected any comparison to pornography.
On set, Atherton says she recalls Clarke showing her naked
photographs sent by women to his phone. She, too, accuses him of sexually
harassing her on a daily basis during production. She says: “He would make
constant comments about my bum and he would come up to me with his arms
stretched, with a little tilt of the head and a coy smile, you know, nodding
down to my bum, and saying: ‘Come on, come on, give me a hug then.’”
She says she complained to Clarke and her superiors and the
misconduct stopped. Clarke’s lawyers said he admitted to making comments about
Atherton’s backside “numerous times” and said he was “embarrassed by such
behaviour” and apologised at the time.
In 2018, Kim*, an actor, worked on a production Clarke was
starring in and producing. She also recounts behaviour on set she believes was
highly inappropriate. During filming, Clarke would stand very close to her on
set “and look my body up and down”, says Kim. In between takes, Clarke asked
Kim if she had ever had a threesome. “I would try and switch topics,” says Kim.
One day on set, Kim says, Clarke came up behind her and put his arms around her
waist, before kissing her neck. “I had to laugh it off,” she says. “I felt
annoyed at myself.” Clarke denies the allegations.
The characters played by Kim and Clarke were scripted to
perform a sex scene. When Kim accepted the role, she had been told she would be
able to wear underwear, including a bra, during the scene. But in the run-up to
filming, she says, Clarke repeatedly pressed her to go topless. “He kept
saying: ‘It needs to be real.’”
Clarke called her on the phone to put pressure on her, she
says. “Every time I saw his number come up, my heart would race and my palms
would go sweaty,” she recalls. She did not feel comfortable going nude in the
sex scene and refused. During filming of the scene, between takes, she says
Clarke would stroke her. “If felt like he was hiding in plain sight,” she says.
She was distressed throughout the filming of the sex scene,
but didn’t feel she could say anything, because Clarke was a producer – and
therefore her boss. “I had a horrible time,” she says. “It was #MeToo shit.”
Another crew member recalled that “she wanted to wear pants and a bra” and that
“Noel was angry about that and wanted her to be nude”.
Clarke’s lawyers stated the actor requested a change to the
scene and said Clarke called her to discuss it. They denied Clarke pressing her
to change the scene, which they said was done “the way she wanted it”, and
denied he stroked her in a sensual way between takes. However, they said Clarke
discovered in December 2020 that the actor was “distressed” during the filming
of the scene and called her to apologise for commenting on her body, a remark
he said was intended to “make her feel better as he knew she was feeling
insecure about the scene”.
Clarke often projects the image of a considerate film-maker,
with a strong moral code. He recently tweeted: “Be good, be kind, be
respectful.” The reality, according to the people the Guardian has spoken to,
is that Clarke can be charming, thoughtful and fun – but also intimidating,
domineering and scary. The word “bully” comes up repeatedly.
“It was one of my first jobs in film, and I was 23, and I
didn’t really know anything about the industry … I let the bullying happen,
because I didn’t know any different,” says Philippa Crabb, a producer and
podcaster. “I was so young; I was scared to say something.”
In November 2015, Crabb worked as a runner on Brotherhood.
Clarke was the lead actor, producer, writer and director. Crabb’s job was to
drive him to and from work, meaning a lot of time alone with Clarke in the car.
It was just constant, inappropriate comments. He was always
trying to steer the conversation towards sex
“It was just constant, inappropriate comments,” Crabb says.
“He was always trying to steer the conversation towards sex.” Clarke secured
Crabb a small role. “He said to me: ‘So I’ve got you this nurse’s role, what
are you going to do for me?’ And I was like: ‘I am going to act really well in
the part.’ And he was like: ‘No, obviously. But what are you going to do for
me?’ I didn’t know what to say.” She adds: “It felt like he took advantage of
the fact that he was in a powerful position.”
Crabb began to dread their car journeys. One morning, she
was 10 minutes late to collect Clarke. Powell was in the back seat. “He
literally screamed at us in the car,” recalls Crabb. “I was completely in
shock. I’ve never had someone scream at me before.” She says she was fearful of
Clarke and learned to placate him when he was yelling at her. “He’s a scary
person,” she says. Powell said she could not recall the specifics of the car
journey, other than that Clark “yelled” at the runner because she was late.
Clarke denies bullying or sexually harassing Crabb, denies he is a scary person
and denies shouting at her in the car.
During the filming of Brotherhood, Clarke also allegedly
bullied and sexually harassed a young female script supervisor, Megan*. On set,
she says Clarke would whisper sexually explicit things in her ear and sit too
close to her.
Clarke would also openly bully her, she says. On one
occasion, Megan was supervising a scene that was technically very difficult,
because it had not been properly rehearsed. Clarke asked Megan where he had
been standing in an earlier shot. “I didn’t know, because it was chaos,” says
Megan. She was only 23. “He just started screaming abuse at me, saying: ‘Why
are you even here then?’ It was awful,” she says. “And I was just sat there
like: OK, don’t cry in front of everybody.”
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