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In England, there's a lot of people producing their own work and becoming producers and filmmakers, so they're not constantly waiting around. It can be very scarce for work, so it's important to create the work.

Two of my sons are themselves filmmakers, and we can't afford them nor they us. They work in the real world and earn money and are pretty good at it.

When you work on big commercial movies, of course there's more money involved and you can still do some good work. But with an independent, you get films that are really close to the writers' and directors' heart. Somehow it becomes a little deeper. A little more meat and not as much flash.

I think independent filmmakers, documentary filmmakers - they are journalists.

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.

When you're making an independent film what you don't have in time and money you have to make up with creativity and diligence.

There's something I really love about independent filmmaking. Everyone is a little bit more close-knit, and you rely on people a little bit more. The bigger the budget gets, the more everyone toes the line in their department.

During the '90s, a lot of us in the indie film world were not making our money off our movies. We were screenwriters doing scripts for hire for studios.