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.
I couldn't tell you the ratio, but probably for every job you see me do, there would be 20 rejections.
'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.'
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 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.
