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Where's the Money, Ronnie?

" I think the idea of a man going into a forest location to meet another person is in itself quite a spooky thought. Using a hand held camera adds to this mysteriousness. So if the camera is always slightly moving and not quite focused, you never get the chance to feel settled. As they go deeper and deeper into the forest on this journey, The Man With No Name starts letting it slip that the whole story might be a bit of a con. So the audience starts thinking that he might have actually gone into the woods for money or murderous means.
It's the not knowing which makes this film seem mysterious. If you set out to scare people or to build suspense but actually make them laugh all the way through, then they are never going to follow you. So if it looks like a documentary, and the audience is not allowed to settle, then that can give you a really nice element of mystery.
Sometimes it's about what you don't put into the film which can actually make it quite spooky. If you can't quite explain what you are watching and you can't quite figure out whether the guy is real or not, then this creates a mysterious atmosphere. It's a very fine line to tread and making The Man with No Name involves probably one of the more difficult styles to get right. In a fly on the wall documentary, people inevitably go over the top and try too hard, seem unnatural, concentrate so hard on making it seem real that it eventually feels plastic. It takes a bit more craft, more skill and the ability to not push it too much.
Music can also help to make a film seem mysterious. The location can also help too. If you film in the city centre, you are never going to feel scared because you know somebody can cry for help. But if you film in a forest, then you are setting the scene in a potentially troublesome isolated atmosphere and rules of mystery definitely apply when nobody is there to help. "

" When you are doing a fly on the wall documentary, you will be used to seeing and hearing people asking the questions. In this film, you do not see the cameraman (I play this part) and this creates intrigue. The cameraman turns up by himself and you get the impression he is looking for local stories.
You see me calling for his name, but we are not sure if The Man With No Name is there. Not seeing me can be a bonus because it builds suspense and although you cannot see me, you cannot help being concerned for my safety. You can here me talking off camera and on the mike. This helps to give the impression that this is a real documentary too because the dialogue seems unplanned and spontaneous. It's a rule that tends to apply when people shoot these kind of films.
The relationship with the audience and the cameraman is built really in the middle part of the film when fear starts to kick in. There is a risk that I might actually be led into the woods to get my legs or arms chopped off. Because you can't see me, you start imagining how I am feeling by the tone of my voice and this makes it even more scary. Eventually the audience finds out that this whole story is a fraudulent set-up.
If you look closely, you can see The Man With No Name ...manipulating and trying as hard as he can to hold the whole thing together. It turns out to be such an amateur attempt at a fraudulent way to get himself into a film and it obviously all falls down on him. You go through the whole film seeing everything through the eyes of the cameraman, so that by the end you feel as if you have had the same experiences as him. The audience eventually develops a relationship with the cameraman and disdain for the odd ball Man with No Name. "

" Shane's World is about using the people around you. There are not many people in my area anymore. Most of the people I used to work with have moved away. But I have always carried on working with my friend Paddy Considine. If you are making a fly-on-the-wall documentary, like The Man with No Name, and you find that your friends are not quite up to the standard of performance which you need, then why don't you make a mock-umentary about a local character. People might look at me and say: "Yeh, well you've got this guy who is incredibly talented and you are very lucky". However, if Paddy wasn't here, I would still end up making the film.
You've got to have that drive nowadays if you want to be a successful director. There's about 7 million people in this country who want to make films now. Actually, probably most of the population wants to make a film these days. You have to believe that you can actually be able do it. The moaning minnies are never going to be able to do it. When I first started, I used people who lived up the street. Now those people are not around, I use a guy across town. And if I could not find any actors, I would look for real people and make a film about them. This is because these people are themselves.
The key is about having the ability to think round problems, especially in today's age when everybody has access to cameras and there is so much rubbish about. "