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Where's the Money, Ronnie?

" The secret to being a director, especially when you first start out working on a low budget, is bein ablt to make people feel relaxed. One of the simpliest ways of doing this is through using costumes. This could involve somebody just putting on a mask or just a costume which they don't usually wear. You'll be amazed at how liberated they will feel. So with The Man With No Name, we set this guy up to be obviously living in the forest and I remembered an idea I had seen in Apocalypse Now, where the man paints himself up, ready to go in - Marlon Brando does this at the end.

One single image of a scene like that can inspire a character to be made. This helps you to talk to the actor and say: "Do you remember that scene in Apocalypse Now? Well I am going to paint your face up like that. Can you see yourself as one of those Vietnam vets living in the woods, but the bottom line is that it is a big hoax?" If you are inspired by something, you can pass that information onto somebody and get them to dress up as something that isn't themselves. They will definitely find this as a very liberating experience. So it's great fun, you can experiment, and don't worry if you don't get it right the first time. You can also go into your grandad's closet and pick a big pair of pants in there and stick them on. "

" What people need to understand is that I did not plan the ending of this mock- umentary. We didn't have an idea for the end. I knew the premise that this man was going to get more and more into the woods but we didn't know how we were going to reveal it as a hoax. We thought this would help the film to seem more natural as a mock-umentary. As we were working around this forest, we came across ramblers everywhere. We aimed to shoot this film in the style of a documentary about a survivor in the woods and the next thing we know, an odd couple would come walking through. This seemed like an interesting concept to keep in, because The Man With No Name keeps saying that nobody has been to this location for 30 years and it is really spooky.
We wrote the hoax part into the film. As we started to see more people, the cameraman started to question The Man With No Name and by the end of the film actually unfolded without any planning whatsoever. So inevitably, if you are making a low budget film, you are going to have to go into town without permission or shoot in places where you can't control people and you haven't got the money to stop people. If people work their way into your film, you've got to be creative. If somebody comes walking into the scene, like this, you have to think of a way of making them add to the movie.
The roamers in this film saw a guy with face painting, with a big wig and a green jacket. They didn't know if it was real. They weren't sure if we were making a student film or if we were making a feature film, so they weren't sure whether they could keep walking and talking. If you have actors which you can prompt and say: "If anybody comes in, don't stop, because this is meant to be a documentary." So whatever happens, even if the police turn up and asks you to move on, it is actually quite excting to keep the cameras rolling. You might film something better than you could have planned. "

" I only write things for myself. I never write anything for anybody else, I only write things for myself because there is nothing else I would like to make. It's not that the scripts aren't good they are just not my kind of story. So what I have basically found over time is that if I write scripts for myself, that puts me in a strong position where there is nobody to argue with. "