Speaker 1: I mean, with Red Riding, David Peace had drawn really heavily from actual events, of course, as is all fiction. And I can't remember the exact quotation, but it was something like, bloodily ripped from fact. As far as I was concerned, I was trusting those novels. So initially I was going to do a lot of research for Red Riding, but I didn't in the end. In the end I stuck very, very absolutely to those novels and allowed those novels to inform me of what the world was. I trusted that world that David had invented there, and those characters, those people. The only person I did do some research into was into Peter Sutcliffe, because I wanted to use his actual words wherever possible. With Southcliffe, that was an original piece, but I asked Channel 4 to allow me to go and with researchers, not just me on my own, where we would find people and ask them to talk about their experiences of having lost someone very close to them suddenly. And I wanted those people to be found around Whitehaven or around Hungerford, so places that experienced a shooting spree. I didn't want to talk to people who were directly involved in that, I just wanted people who lived in the area. I felt that it was somehow connected with place. In This World was a really interesting project, it was one of the best filmmaking experiences I've had in fact. Me and Michael met and we talked about what we were both doing and about the possibility of working together. I'd met him years before about a project set in Haringey, which I'd written, set in the Cypriot community at the time. And that hadn't worked out, but anyway, here we are, we were having lunch again. We talked and Michael wanted to do one project about Laika, the canine cosmonaut, and another one he was interested in was a story about refugees' journeys, and it was specifically about the journey. This was around 1999, 2000, so there were a lot of people who were leaving their homes and the people they knew and their friends and their countries, everything, to take enormous risks in order to come to the West. So we agreed to start working on this project and I started by reading accounts of people who had been smuggled and then started meeting people, I met a lot of people, mostly young men because they travelled easier, and gradually built up this outline for a road movie. Michael didn't want to use professional actors, he wanted to shoot the film very much as a documentary, so this stole a whole bunch of things I thought I knew about screenwriting, which was one reason for taking the job, because it meant reinventing myself and reinventing my job. And then Michael and I went out, the two of us, and we travelled overland as much as possible. We went from Peshawar in Pakistan, overland through Pakistan, into Iran, then to Turkey, to Istanbul. And of course as we made that journey we were doing various practical things, readying for filmmaking a few months later, and also collecting more story and events, things that happened to us and so on. And then when it came to shooting the film I would go on ahead by a day or two, and instead of writing a man in a cafe, I would go and find a man in a cafe and then Michael and the crew would catch up and I would show them what we had and where we were, and then we would play with that material from then on.