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.

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.

I'm not under too much of an illusion of how smart or un-smart I am because filmmaking ultimately is about teamwork.

I like death. I'm a big fan of it.

I suppose directing on set is the most fun because it's a good crack and you feel you're on the battlefield whereas writing is a fairly solitary undertaking.

My principal job is to make interesting and entertaining films, and I'm not proud of which format or which particular technique I use. I just wanted the film to look good.

Previously, on Lock, Stock, I went to bed at two in the morning and woke up at five in the morning, and on this one I was known to nod off on the set occasionally.