Why do you think Skins U.S remake’s debut was so controversial?

I always felt Skins was a quite distinctly British show, and I think that was why it did really well to begin with. All we had on TV before Skins for teenage shows was just like American imports and it was important to have something British and it was very much about the British experience.

- HANNAH MURRAY (CASSIE, 1st Generation)

There’s a whole lot of age restrictions.  I don’t like generalizing, because it’s a big old place, America. There’s that many more people living there. But I would say that it probably says more about an audience or an American audience as opposed to Skins as an idea, or a project. It’s understandable, you know? If you associate 20, 18, 19 still as kids, not old enough to drink, then you’re going to be surprised when you see them on TV with American accents doing exactly that. I don’t agree with the naïveté, it’s not like it doesn’t exist. You can’t tell me everyone in America doesn’t touch alcohol until the age of 21. You guys are getting crunk. Everybody’s getting totally crunk right now.

- JACK O’CONNELL (COOK, 2nd Generation)

I suppose it depends on where you are in America, but it’s certainly a more conservative society, which is why a program like Skins would cause controversy. There were a lot of parents that weren’t too keen on our show here [UK], but we don’t get up in arms as much as people do sometimes in America. The fact that the legal drinking age is 21 leads to a kind of—I suppose it’s the reason why they do it, it leads to a slightly longer innocence. Everything that goes on here [UK], goes on in America, it’s just a lot harder to get it shown on television without compromising some kind of integrity along the way. Culturally, America’s really a place that’s fascinated me—you  can watch Terminator Salvation on television at 6 o’clock in the evening and there’s people blowing each other up with guns. I feel like America has the best and worst of everything.

- JOE DEMPSIE (CHRIS, 1st Generation)

I know a little bit about it and I’ve read about it, I haven’t seen it. I’m not avoiding it, I didn’t actually end up watching quite a lot of the episodes in our series either, and to go back and relive it in America today—it’s a bit too soon. I read some of the reactions of the press in the States, which is maybe something more drastic than the reactions we have here. It’s a tricky one, particularly having not seen the American version.  I’m sure it’s quite similar to our version. I think in America people maybe get more involved in things whereas in England if you don’t like it, you don’t watch it. You don’t necessarily have to have such a large reaction to it—but I don’t know, it’s difficult to say exactly why the reaction was more severe for the Americans. It’s probably because advertising networks pay a lot more on MTV than advertisers over here. I’m sure it’s many different things.

- NICHOLAS HOULT (TONY, 1st Generation)

Source 

"Kaya Scodelario has revealed that she is unimpressed with the American remake of Skins.

Writing on her Twitter page, the actress explained that she had watched the show while on holiday in Jamaica.

"We watched the American Skins," she said. "Na mate! Brits did it better."

Scodelario, who admitted that she "quite liked" the US remake of Shameless, also retweeted comments expressing surprise that Skins has been so controversial in the US.

According to Perez Hilton, Scodelario also complained that the swearing in the show had been bleeped out and added that she is unimpressed that her character Effy is now blonde.

That message has now been removed from her Twitter page, but Scodelario later wrote: "Glad Perez Hilton is on the same page as me on the whole Skins USA censorship thing."

Recently we caught up with a young man going by the name of Jack O'Connell, the Derby lad currently streaking between the skyline and the silver screen as one of Britain's most promising young actors. Best known for his roles as Cook in Channel 4's 'Skins' and Pukey Nichols in Shane Meadows' 'This Is England', and having won the TV Choice award for Best Actor in 2010 at only 20 years of age, Jack is with us to chat on the subject of work, inspiration and the British Film Industry. But first thing's first, has the award made him think any differently of himself?

J: “Yeah, greatly, dramatically [different]. It’s clarification that I’m doing well at my job so I might as well continue. It’s a TV category though so certain actors are exempt - I wanna go against them all. BAFTAs, I wanna be in the BAFTA league”

And it is that kind of ambitious, positive attitude that makes Jack such an inspiring character to be around. Whether in the warm-hearted, modest haven of a local pub or in the astral surroundings of the metropolitan elite, Jack exudes a typically northern charm and confident positivity to any and all.
So what would satisfy this high-reaching young actor?
J: “I want to document some beautiful Britishness that has occurred. I’d like to character act… I’ve got a role as Bobby Charlton”
Very true, in fact Jack will be starring alongside David Tennant in the BBC’s TV film, ‘United: The Busby Babes and The Munich Air Crash’. Due to hit the screens this year, the film will see Jack take on a new type of role away from the boisterous, aggressive young alpha males we are used to seeing him play; a testament to his ever-growing plane of portrayal prowess. So how does he like to sculpt his characters?

J: “It’s important to be open-minded. For the likes of Cook I’ll use people I know. But for a character role it’s impersonation to a degree… I like to adopt the mannerisms [of the character] and walk around Alvaston - where we’re from”
Big up! This kind of home-loving nature illustrates just how down-to-earth Jack is. Like most of us, he is partial to indulging in the quixotic midnight lights of a major city, but he is just as happy to lie low and relax with family in his cosy hometown. After all, Alvaston is where Jack was born and raised - an unlikely nest from which one of Britain’s most promising young actors would fly. So just how did the acting all come about?

J: “Saint Benedict’s (his old school) specialise in drama. I liked twatting about… more so than [studying]. So that came with its troubles, but by the time I was in drama classes it was being welcomed. So they gave me the application form for the workshop in Nottingham. I’d go there weekly, and after a couple of years I’d get sent to auditions.”
This combination of personality and cosmic convergence has gone hand-in-hand with an enthusiastic dedication toward his craft, kindled by parents who were willing to make their son’s aspirations their own. But these days the enthusiasm is self-maintained, and after working with heavyweights like Shane Meadows and Stephen Graham there surely can’t be any lack of enthusiasm nor education.

J: “Shane [Meadows] gave me a good perspective of the industry. He made me see that he can do exactly what he wants to do. Then the perfect example of that [education] was seeing Stephen Graham playing Combo right there in front of me... I’d see him before takes, he’d be marching about fully as Combo - he’d completely drop himself - and I remember thinking ‘that’s what I want my performances to come across as, that I’m that character and nothing else”
‘This Is England’ was a phenomenal hit when it was released, and the high regard it enjoys must be in part down to the philosophy on which it was made. The legendary French New Wave director, Jean-Luc Godard, once said that film should be “truth 24 times per second”, and there is no greater applicator of this ideology than Shane Meadows. But how is the realistic, gritty feel obtained?

J: “Shane can really bring you into the story because [the subject matter] is that relevant and the performances are so convincing, and he knows his formula on that front. [Also], he’s aware that if he lets it breathe without nailing it to a script; if you get everyone in and let them interpret things themselves you get people working together - then you’re onto a winner.”
What makes Meadows’ portfolio even more impressive is the shoestring budget it’s been made on. At the other end of the spectrum are the producers and filmmakers who spend more time wondering what the audience want than what they themselves want. These types of films - often made on large budgets in the hope that big names and sparkly effects will varnish a weak script and lack of vision - tend to lack heart, and in the worst scenarios overshadow the real spectacles, which end up flickering limply in front of empty seats.
But enough of my ranting, what is Jack’s take on the British film industry right now?

J: “I don’t like where its priorities are. [The attitude seems to be] that the more visual you can get it, the more spectacular it’s going to be… But what you run the risk of is losing the talent. In my experience it’s worked out better when the financial side of it [has allowed] the creative [people] to work out what will make the work sell. [But] I don’t think it [the industry] is in any dire straits: nowadays - and Shane Meadows said this as well - it’s easier than ever to make film.”
Very true, in fact there are films being made on mobile phones these days. So if you’re cinematically inclined, round up a posse of like-minded cronies and get shooting. There’s nothing more fulfilling than creating something from the ground up, and for artists collaboration is the key.
Keep your eyes screenward for Jack's appearances in the aforementioned Busby Babes film later this year, as well as the TV adaptation of Martina Cole's The Runaway. Until then, why not get online (FD2D.com) for the full interview and a cheeky video?
Oh go onnnn.

Well as I'm sure you are aware I am of course prohibited from talking about any students past or present. And the fact that noone has seen hide nor hair of that particular student since his remarkable escape from the law means that even if I wanted to I couldn't possibly tell you how, where or what he currently is. He could be dead for all I know.

I will however mention that my car was vandalised a few months back. Everyone else swears that it's just a profanity scrawled across my roof but I'm not so sure. I'm certain that "C" was an "O".