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.

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.

You'll never see me in any of the tabloids because I've made a conscious effort to stay out of that. I'm not interested in fame. I'm interested in hard work and letting my work speak for what I do. I've been in high-profile shows but you don't see stories on me because I don't go out and court them.

'Pulp Fiction' blew my mind; beforehand, I'd watch films and there was a beginning, middle and an end, and that's it. There is in that film, too, but it's out of sequence.

I just started to write because I was fed up of not seeing the stories that I wanted, so I was like “Stop moaning and write something.”

I allowed the actors to have freedom and sometimes change words if they needed to or thought that another word was more current.

When I write a project, it might be something that I want to do and then when I look at it, I'm actually like, "I kind of don't want to direct it." I don't know why, I still love it enough for it to be made and to support it, but I don't want to direct it. I just give it to other directors and they do a good job!