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.

I am relatively familiar with getting a good old rumping from the critics. In some cases, the critics just didn't like the film - fair cop. Others, I think, didn't understand it.

The English countryside is the most staggeringly beautiful place. I can't spend as much time there as I like, but I like everything about it. I like fishing, I like clay- pigeon shooting.

As I get more and more involved in the child's world with Rocco his son I'm getting interested in making a film for children.

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 can all be conned but at what point do we realize that we're being conned and to what point do we allow ourselves to be conned?

I like filming in the UK - I'll sleep in my own bed, which I'm really happy about.