An Interview with Paul Morris

I sat down with Paul Morris, the director of Angry Young Men, to talk about the art of independent filmmaking, the Scottish film scene, how he got his start in the world of cinema and how to translate ideas from your head onto the screen.

What initially inspired you to become a filmmaker?

My dad was a lecturer and a real film buff, so when I was growing up I was always exposed to a wide variety of movies. He was also really into Greek mythology, and used to take me to Hamilton library all the time, so I had all these ideas and scenes swirling around in my head when I was young. I used to act a bit when I was younger too, but I dropped it in high-school and didn’t pick it back up until years later when I was looking to make a change and was thinking about the things I’m passionate about. I eventually got myself a DSLR and started making shorts and sketches with friends, and this eventually developed into the idea for Angry Young Men.

There are so many famous and talented Scottish directors, Lynne Ramsay, Bill Forsyth, Armando Ianucci, the list goes on. I was wondering if there is a Scottish director (or directors) that you would say has been the biggest influence on you personally?

I never saw Forsyth’s films until after I made AYM but I’m a huge admirer of his, particularly Local Hero. Ramsay is huge but I think she’s a lot more poetic than I am, and more of a purist when it comes to filmmaking and images whereas I love dialogue but also love big set pieces and how the camera can play an active role in the storytelling. I would say I love them all (including Bill Douglas) but my influences come from all over and manifest themselves in different ways.

Your film was shot on location in Hamilton using local actors, how important was it for you that your film was authentic and recognisable to people who have grown up in similar places, ie small towns or ex mining communities, in Scotland?

It wasn’t so much that I wanted it to be authentic, but I thought the location was a great setting for a tale or an allegory of what growing up in this area feels like. I wanted to use the look of the area and heighten it with my own take and characters that weren’t just documentary style working-class boys but had its own style, and hopefully enlarge the story and make it feel grander than just ‘stealing’ shots and capturing the life I knew. I wanted to combine the real with my own ideas to try and create something new but familiar.

Surreal is one word which has been used in describing Angry Young Men. How difficult did you find it translating your more experimental ideas on to the screen? What was the inspiration for the more surreal elements of the film?

The surreal side really came from my reluctance to tell an autobiographical story. I didn’t want to replay fights I saw or people I knew in a direct way. I also wanted there to be scale in the story to give it a grander impact and infuse elements I love about cinema (big score, action, high drama) so it was really born from there. I wanted the primary colours of the gang uniform to be sort of a nod to childhood, and the masks took on the ideas of identity and how you can lose it the older you get in these towns. This all came after I wrote it and I never wanted to send a message or anything, it was just an idea of how it felt living there but done in a way that wasn’t specific to my own life although it’s personal in many ways.

Hamilton is a very long way from Hollywood. You had to take on a variety of roles on your film, acting, directing, even helping write the score. How difficult was it making a film without the benefit of an entire professional film-crew behind you?

The most difficult part was getting everyone together and scheduling people. We had a small window at weekends to shoot and if someone pulled out it could ruin a day’s shooting and we would have to wait for months until the next available date. Then, we had the changing seasons to worry about and that was very stressful. I would have loved to have had a DP and soundman etc but I had to do what I could with what I had. This means the technical side is way behind a typical indie film, but these movies are made for millions and that was never an option for me so I’m happy with what we made considering we had so little.

The Scottish film-scene is often overlooked in favour of more glamourous American productions. As someone involved in Scottish cinema at the moment, what is your view on the current state of affairs? Do you see a lot to be excited about in Scottish film?

I think we have great voices here, but films cost a lot of money and to even make an acceptable/watchable film you need great sound and a good camera. Then you need to think of the marketplace and having stars attached, all that sort of stuff, but the Glasgow Film Festival is a great platform for us and I think we could have a real scene here if we all keep pushing forward, but it’s incredibly difficult. Even if you have amazing ideas and some equipment the filmmaking process takes a lot out of you and not everyone can do it. Then you need to sustain yourself by working and then if you have family etc it can become really hard to keep up. I am very positive though and am determined to see it through and hope others here can do the same.

The film industry is notoriously difficult to break into for those from working-class backgrounds, what has your experience been like so far?

It’s difficult. I don’t think there’s a lot of money in Scotland and part of it may be because there isn’t a huge crop of successful Scottish content the world is crying out for, so people are less likely to take risks investing in you if there isn’t an example of it paying off. Trainspotting is a masterpiece but that didn’t set off a chain of Scottish films, even though everyone involved went on to become very successful. I think it’s a strange mix of lack of confidence in ourselves, lack of examples to follow and the fact that the world isn’t very familiar with our accents in cinema. Hopefully this will change as more and more singers, actors, writers and directors keep creating and spreading Scotland over the world. We have a lot of talent here.

What’s next for you? Do you have any more ideas for films stored somewhere in your head at the moment?

I’m writing another feature called Anyone Can Get It, which I love, but I have a few other ideas based on what funding we have to consider. So something will be made I just don’t know in what order.

As an independent filmmaker it only feels fair to ask you, what is your favourite indie film of all time?

It’s a hard one to say because some indie films cost more than others and are made by established filmmakers more for ‘mini-studios’ rather than low budget films like we made and even ‘low-budget’ in America can be anything under 4 million so it’s hard to say but I think Blood Simple is amazing, Shallow Grave, Mean Streets and Heaven Knows What.

Do you have any words of wisdom for any aspiring filmmakers out there?

Again, a hard one because what feels like a revelation to me might be second nature to someone else, but writing every day and choosing discipline over inspiration seems to be a smart move. Also, trying to be the best audience member to your work, knowing what it is you’re trying to evoke and then selling it as that seems to go a long way in connecting with a potential audience. Also try and find someone very rich and get them to finance your projects.

Find out more about Paul's film at https://www.angryyoungmen.co.uk/