I tend to shoot really quick so you don't get the problems you might get on a traditional film where you shoot one way, then another, and it's pissing down with rain and they won't cut together. We shoot so fast we can incorporate the weather into it. The worst weather we had was when they were in the caravan up the mountain and there was no cover. One man's weather is another man's production value. To create the sleet would cost a fortune but we got it for free so we'll just have to go with it.

Lots of crime films are about work. Free Fire could have been about a company of plumbers doing pipe-fixing and stuff. But the plumbing film is not so exciting.

I think CGI is interesting but it's too expensive and limiting in terms of what you can do shot-by-shot.

Film is more of a dream when you're younger. I found it almost impossible to see how you would get into the industry having no connections, nobody in the family being anywhere near it and never meeting anybody that had been on a set.

The reality of any location in Britain being used in a TV program of a film is that something bad is going to happen! That's the nature of drama. Most of the things that get made or basically grisly detective shows about murders, accidents or medical dramas.

I genuinely try to make movies I'd want to go and see, movies that are a bit more challenging.

You can muscle your way to the top as long as you're part of the production, which I am. I'm knitted into the money, so it's very hard to extricate me from the decision-making dynamic.