Director Anyrin Talks Countryman

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Director Anyrin has completed his new short film, Countryman, (above). The moving project is based on the autobiography of Irish traveller Paddy Doherty and was filmed on location at his caravan site.

The unique production integrates actors with real people from the travelling community and provides an insight into a section of British society that usually prefers to stay out of the spotlight.

Below, Anyrin tells us more about the film.

What appealed to you about working on this project?

The chance to expose an audience to something new, something that they wouldn’t ordinarily come across is always really exciting for me. Travellers are essentially outcasts and they are generally comfortable with this – so they live in a parallel universe that is very different to most people’s. It was the same for me when started working with activist/actor Russell Means, where I lived with the Oglala Lakota Sioux Tribe for three months to make my film study of these extraordinary people.

Why did you choose to make a film on Paddy Doherty?

I’ve known Paddy for years and we're tight. He trusts me. He asked me to develop a film based on his recently finished autobiography Hard Knocks and Soft Spots, it’s such an amazing story I had to do something with it in the only way I know how: make a film. I’ve called it Countryman( what travellers call outsiders) and it stars another renegade – Calum Best.

Why was Calum Best the right choice of actor for the film’s main role?

Well, because, like his dad, he does things his way and doesn’t think like most people. He lives life to the full and, once he sets his mind to something, he’ll never give up till he’s won. We’ve also been friends for some time and I find him a joy to be around.

Tell us a bit about working with Best…

Our friendship played a huge factor. For six months prior to shooting, Calum completely immersed himself into his character – even obtaining 'peak beard' that any hipster worth their salt would give their eye-teeth for. At the same time, he also grew the character so that when we turned up on the set, everything was second nature (very handy when a budget is so small). On the three days of shooting we were able to land a lot of improv, which, for me as a director I find both utterly thrilling and completely terrifying. But that’s how you get something special, something unexpected. After all, isn’t that how so many of the greats such as Leigh and Kubrick did it? In the end, I think we managed to make Countryman a voyeuristic journey that took us to a pretty dangerous place and safely back out again.

Tell us about the casting process for the other people featured in the film…

My idea was to integrate real travellers with real actors. I decided not to work with dialogue and just performance, so I designed 'Scene Arc' boundaries, within which, would house all my performances and allow room for improvisation. Casting came mainly from Doherty’s side with residents from his site. Gypsy cage fighting champ Tony Giles, who is also bursting with talent and I’ll definitely want to use again in something, came aboard and brought so much to the table – the man’s going places, you saw him here first!

There’s very little dialogue in the film. Why did you choose this style?

There are quite a few reasons really. I like the heightened bleakness of the film and the attendant isolation that comes with this. It’s really atmospheric too, I think. If you’ve ever spent any time in travellers’ camps one of the first things you’ll notice is the quietude (except maybe for the constant hum of a nearby motorway, or an anxious dog, or the occasional crunch of bone in a bare knuckle fight). I also wanted the challenge of telling this story in a minimalist manner and I think the soundtrack really adds so much to the tension.

Music is central to the film. Tell a bit more about it…

Music was fundamental in cementing the flow and signature for Countryman. I discovered a Romany gypsy musician called Efron Lopez who generously created a unique score that drives the emotive thread of the film.

Where was the film shot and how long did it take?

Paddy’s site in North Wales over three days, I assembled a small unit of five along with two 2k black magic cameras.

Any favourite moments in the directing process?

Bonding with the residents on the site, capturing the interaction of the kids and being humbled by Paddy’s emotional turn on the riverbank. Imagine the challenge as a director, my request for the former bare-knuckle fighter, who is not an actor, to break down and cry! The man’s unique ability to draw from a wealth of personal tragedy was overwhelming.

What were the biggest challenges you faced when working on this film?

Gaining the trust of Paddy and his traveller community. If I’d got this wrong we’d have nothing! Also, as ever, securing finance is always a new filmmaker’s nightmare. To take script to screen and securing the editor – I have to thank Paul Watts with the bottom of my heart, the man has all of my respect. I just don’t know how he does it.

What sort of a reaction do you want people to have from watching the film?

I’ve brought them to a world they did not expect to visit.