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 was offered and accepted a part in 'A Few Best Men,' and then the Australian actor's union argued that there were too many British actors. And the director decided to lose me.
I can't always be making 'British films.' Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
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.
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 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.'
'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 couldn't tell you the ratio, but probably for every job you see me do, there would be 20 rejections.
