I've documented a lot of things myself as a filmmaker. If you want a rockumentary, that's in there.

Predominantly in the West, if you can only have creative voices that are either black or white, I'm going to say whatever the f - k I want, because no one's going before you, and if no one's coming after you, I'm just going to be the freakiest of all freaks!

Now, [hip-hop/grime artists] Stormzy, Skepta, or the Section Boyz have to be validated by Drake, Rihanna or Beyoncé. They're rolled into this one urban culture bubble; it's not really to do with, "I'm specifically f - ked off about my country and what's going on in my town." We're very much only showing success to artists who impress American artists, and I'm one of them.

I wanted to represent a different decade, and I wanted someone who goes back further than me. I go back the furthest on this thing, I never really noticed that before. I'm going to have to fix that or I'm going to look really old.

What's wrong with hip-hop [is that] it became so one-dimensional; it became like a businessman thing. It's run out of creativity. It went so far off about making money that now everyone can do it.

I feel like a mirror reflecting back everyones perception of me.

Any piece of art, when you're putting it on a certain platform, if the platform becomes a political place, you can manipulate things.