I'm very superstitious about going on other people's sets. You have to ask permission of the director; you shouldn't just turn up and skulk about in the background. It's very rude. You have to ask them personally. It's like a vampire being invited into a house.

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.

It's part of developing the whole state of how cinema is; everyone is looking out and engaged rather than it being just a financial thing or sitting back, waiting for scripts to turn up.

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.

I like that confusion when people are speaking in the same language but still can't understand each other. It's also usually my experience of being in America - when I speak no one can understand what I'm saying.

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.