The things that inspire people to think are what keeps a film alive.

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.

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.

Sometimes my scripts get so dissolved, and they're so different from when I wrote them originally, that I find it hard to find what I wrote in it.

There's no way you can shoot low-budget stuff on lots of locations. It's just a practicality thing because every time you move, it costs time and money.

If you make a movie in the UK you've got to embrace the weather with open arms... We got some of the most amazing weather as well. It's maybe why some of these places, like the Lake District, don't get filmed in so much. If you were trying to make it look like some kind of chocolate box image of England you'd be there all year waiting for the sun to come out.

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.