All I wanted to show is that crime and drugs are in every layer of society, especially in England.
And there's a lot of people making money out of policing the drugs. Which I think is just as bad.
And writing I think is a gift that you have, the same as acting, in a way.
As a director, I cast actors who could act.
Because normally you write a script and you find an actor that can do anything you want.
Being a producer, I deal with a lot of different directors, and some of them would drive me insane with all the different histrionics, and the mystique that they carry.
But I think a lot of times they ignore the comic book and they don't make a good film so you're just stuck in this no man's land.
But if I couldn't find something to direct, I would produce.
Cliches are what make you understand something.
Crime, money, power, drugs - are all linked.
I did this to try and prove to the world not that anyone could direct, but that I think anyone given the chance could make it work.
I didn't have to draw performances out of anybody.
I had a philosophy, which may have been proven right, that directing isn't as hard as everyone says it is.
I like doing as many special effects in camera, as much as possible.
I like the idea of making big budget films with a heart. I like graphic novels more than comic books.
I like the X-Men, otherwise I wouldn't be doing it.
I liked Hulk. Everyone hated Hulk but I actually thought it was a good film.
I liked the other two movies, I was struggling to find a film to make that I felt excited about, and I really want to make a large budget movie with a heart, and soul, and X-Men seems to have that going on.
I think it's easier to make a film with 200 million dollars than 960 grand.
I think most societies, whether you're working in the army or politics, schooling, there's always someone at the top, going all the way down.
I think movies glamorize violence, in the sense that they make it in a way that it's either cool or funny.
I think music is what takes the experience off the screen into your soul, into your head.
I think there's a time in your life where you don't feel like you fit in. I think everyone has that when you're a teenager, especially, and especially in the society we live in.
I think you should make a movie that has an audience.
I was trying not to make another English caper film.
I will never sign anything which makes me have to do more than one film.
I wouldn't want to do horror or romantic comedies.
I'll never be a good writer, and no chance of being a good actor.
I'm a big believer that it doesn't matter what you call your company, nobody ever notices.
I'm a gamer, I like videogames and I feel like, when you watch movies, half the time it's like watching an extended game.
I'm a Star Wars fanatic.
I'm all for fans being wary of me, as they've got the right to be.
I'm as conservative as they come.
I'm interested in having good stories. That's all that matters to me.
I'm just going to make the film as good as I can and hope that they like it.
I'm more interested in sort of classic storytelling.
I'm not a member of a minority but I can empathize with what's going on.
I've got good people working on it who'll hold my hand and guide me through it.
In a way there's a great risk for these actors to say yes to working with me as a director.
It's a juggernaut, yeah... but I'm not phased by making movies.
Matrix, I always call that a comic book movie and I thought that was good.
Music is half the film.
My aspiration was to make Heat, but set in Britain. That was the goal.
My camera operator is a storyboard artist, which is really handy.
My main thing about the film... I'm trying to make the point that drugs are everywhere, and most people nowadays have a mortgage broker and an insurance broker and a drug dealer in their address book.
One should know your limitations, and believe me, acting would be a joke.
Our lawyers said that if you want to own a film, so it's not just you two walking around, have a company, and the cheapest way is to buy a company off the shelf. There was one called Ska Limited, and we bought it and just put Films in.
People just want to watch movies that are entertaining, it doesn't matter what genre it is.
People who write comics take them very seriously, so you get that serious application to a commercial world.
So I am concerned about the amount of time we have to make it, cause it doesn't matter how much money you have, you can't create more time.
So I think I sometimes will put a cliche in and then just pad it out so you're not noticing.
Some people are directors and I think they should stay behind the camera.
There was a moment on Lock, Stock... - when it collapsed after we ran out of finance - when I had a few weird meetings with some guys I was put in touch with.
What I learned very quickly is that if you get it right in the first two or three takes, it's not going to get that much better.
When you're a producer you can turn up at like 9:30, 10.
Yeah. I used to be a big comic fan.
You can't please everyone... If you make a good movie, that's all that matters.
You either ignore the comic book and make a great movie or you stay very close to the comic book.
You have to be able to relate to the characters and X-Men was pretty good because you saw all the floors and the conflict that they are going through.
You need cliches. Cliches are what people respond to.
Matthew dropped out of directing the film X-Men: The Last Stand.
Matthew workied with his godfather in films such as Snatch.
Matthew's debut as a director was in 2004 with Layer Cake.
Matthew attended University College London before dropping out.
Matthew attended Stowe School in Buckingham.
Matthew's mother is Kathy Ceaton.
Matthew is a university drop-out.
Matthew has 2 children, a boy and a girl.
Matthew is married to actress Claudia Schiffer.
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