I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.

After Kidulthood, I was called in to a meeting and told that I didn't write women very well. I was very annoyed.

All the young people grow up too fast and want to be able to do this, or that. When you get to the older age and you have a mortgage, bills, this and that you think: "If I had done that differently when I was younger, then I wouldn't be in this situation now."

I think it's important that we have a new batch of British film-makers that aren't doing the same old stuff. And that includes me.

The BFI recently did a study of the British films that have the most people of color in them in the last 10 years, and in the top 10, three of the films were my films. I've always been a glass-is-half-full person. I've always gone, "If people aren't going to do it, I'm going to do it".

When I wrote 'Kidulthood,' I didn't even know there was going to be a 'Kidulthood.' I just wanted to test myself to see if I could write a script.

Generally, an indie film in the U.K. is put together much like in the states. We got a tax credit. You sell the domestic rights, which can be quite low, but it's enough to push you over the line. And you get a tax credit on top of that, and then you cobble it together with private equity or gap financing and things like that.