I make films about working class people. All my films have always been about that. For example, the brothel is a workplace. It's aberrant, but a workplace nonetheless. I was more interested as opposed to glamorizing and saying, oh, this is a great erotic place, it's a place of business. The commodity is sex.

My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer.

The SAS is the most elite of the special forces in the world. They are not people who go out and advertise; they keep it inside. They don't want anybody to know about them.

I'm not in front of the camera, they are. I encourage them; I build up as much of their confidence and ego as possible. They've got to take control; I can't act it out.

We all get paid very, very well, and we have responsibilities.

Because when you have millions of people with this kind of need for gratification, and the culture is saying that it's possible for everyone to satisfy all of their needs and desires all of the time, there are obviously going to be clashes - clashes of ego.

I make films about working class people.