The idea is that that there is no such thing as an external enemy.

You get a different kick out of all aspects of filmmaking.

After Lock, Stock, all these really nasty small town characters came knocking at my door trying to tell me stories, and somehow I ended up with this guy whose brother was feeding people to pigs, and that's what he did to get rid of people.

We're not unique. We're quite volatile as individuals, but that doesn't work exponentially when we are together. Relationships are about eating humble pie.

It's not easy to strap yourself down to a desk and bash on a keyboard when you know you can direct lots of films, because directing films is fun and interactive and gregarious. Writing isn't.

The idea is that that there is no such thing as an external enemy.

My approach to violence is that if it's pertinent, if that's the kind of movie you're making, then it has a purposeI think there's a natural system in your own head about how much violence the scene warrants. It's not an intellectual process, it's an instinctive process. I like to think it's not violence for the sake of violence and in this particular film, it's actually violence for the annihilation of violence.