Edinburgh Art School started do­ing col­lages in­stead of oil and can­vas lis­tened to a lot of hip hop - sam­pling, tak­ing bits of other peo­ples work to cre­ate some­thing new (like col­lages) col­lages, sampilng, film edit­ing all felt like the same thing

formed a band, got in­ter­ested in mak­ing mu­sic videos al­ways made mu­sic videos that had nar­ra­tives, more like short films, never had the bamd per­form­ing lesons learned from hav­ing no money are help­ful now you dont re­ally need pro­d­ic­tion value, all you need is an idea

met michael fass­ben­der’s agent, man­aged to get one day with fass­ben­der, spent four months writ­ing a script shot the film on his phone, got three more days with fass­ben­der, pitch black heist” spent 2 years writ­ing slow west, made mu­sic videos in the mean­time

was al­ways in­ter­ested in sur­re­al­ism dis­tinc­tion be­tween trash art and waht is high art trash films (die hard, preda­tor) and ar­t­house cin­ema

Saw throw-away com­edy, com­mer­cial films equal to higher art”


what you work­ing on noew pro­mot­ing slow west, fin­ished in jan, writ­ing a new film script, writ­ing hap­pens quite or­gan­i­cally

when you film in many lo­ca­tions, do you pre­cisely plan out every lo­ca­tion or is there some im­prov slow west was meant to be set in col­orado, lo­gis­tics made that im­pos­si­ble. fass­ben­der only avail­able in win­ter, found out that new zealand could work, more day­light, lots of dif­fer­ent land­scape within short dis­tance. lo­ca­tion are of­ten about prac­ti­cal­lity rather than vi­sion. com­pro­mises have to be made, do i want to have the ex­act lo­ca­tion or more time to shoot. Its an ex­cit­ign chal­lende to make things work within given lim­i­ta­tions. The prob­lem with hol­ly­wood pro­duc­tions is they have every­thing, so there is no need for imag­i­na­tion

how do you choose as­pect ra­tio as­pect ra­tio can be used as a sto­ry­telling de­vice. su­per eight kind of look works in 4 to 3, pitch black heist in noir black and white widescree, slow west about a eu­ro­pean in amer­ica, used eu­ro­pean as­pect ra­tio (also al­lowed to cut out some of nz land scape so it didnt look like lotr)

when you use fa­mous ac­tors, how does that change the process of shoot­ing nd writ­ing, or is it a mar­ket­ing thing when you work with peo­ple who can’t act that changes your sto­ry­telling, forces you to tell sto­ries through ac­tions rather than emo­tional faces. make a sad film with­out hav­ing teh main ac­tor cry. Went straight from friends to michael fass­ben­der. when you work with good ac­tors you need back­ground for you char­ac­ters, you learn to give your char­ac­ters 3 di­men­sional birth­place lifestory and shit. so when your ac­tor comes to you and asks why their char­ac­ter does some­thing you want to have a good an­sweer. Wether pro­fes­sional ac­tor or friend, you need to find out how they like to work what kind of needs they have as a per­son

folk mu­sic, mur­der bal­lets in­flu­enced slow west? mu­sic was a huge part of my grow­ing up. i thought it was im­por­tant for slwo west to have a mix­ture of bal­lade and sto­ry­telling al­lan lo­macks 40s 50s record­ing. what mu­sic was like then, where does it come from. even if you dont have any mu­sic in the film it can be very mu­si­cal. al­ways think aobout ry­thm with film even if theres no mu­sic en­volved.

hu­mor in the film, bit sim­i­lar to the rel­e­vant its about be­ing in­flu­enced by things like naked gun, po­lice acad­emy ju­ve­nile hu­mor slap­stick hu­mor. early silent films were a big in­flu­ence as well. slap­stick is very un­der­rated

you’d think with so many in­flu­ences your films would be jumpy mu­sic tht has a wide range of in­flu­ences it ends up be­ing more than its parts. Why choose when you’ve got the big his

writ­ing? comes from a vi­sual back­ground, a lot of it comes from walk­ing around, sud­denly the pic­tures start show­ing up. to peo­ple are wet, make a clothes line be­tween the horses, what could pos­si­bly hap­pen when the hosrses are tied to­gether.