There are always people who are doing things that don't fit the official accounts.
There's nothing wrong with the classic ways of adapting stuff.
Taboo' certainly isn't a commentary on other types of period drama. It's just a different way of tackling one.
I think it's always good not to listen to what the rules are supposed to be about the arc of the character and the third acts and all this stuff.
Locke' was sort of myself trying to find out if you could give yourself the maximum number of obstacles to make enough drama and seeing if you could do it.
The film business seems to attract rules more than any other business. I don't know why it does. I think it's because there's so much money at stake.
It's good sometimes to have a character that starts as one thing and ends as another, but James Bond, Hercules, these are pretty enduring stories.
I often find in the film world, that it's very self-referring. If you talk to someone about films, they talk about them in terms of other films - rather than as something that happened to them in their life. And I'm really keen to get back to film as a reference to real things, not necessarily to other films.
The whole process of filmmaking can be chaotic, but if you can have an enthusiastic cast, you're pretty much there.
I think it is best that if you are the writer you just leave the director to it. With the caveat that you state, 'Be gentle with the script. And if there are changes, consult me.'
A funny thing about film is that it's the only medium where people say there are really rules that you have to stick to. Nobody says to the writer - in a film you've got to have three acts - there's a character arc you have to do - there's no reason that's true.
Any attempt to recreate a world of 1814, or 100 years before that - I think it's important to understand that the people of the time had a different concept of what reality was. Their reality was much more haunted.
Some accents people - internationally - can't understand, also they come with baggage. London means a certain thing, Liverpool means a certain thing. Whereas with Welsh, he can be a middle-class man with working-class roots and still have an accent and it not be an issue.
True stories are always good because they're so odd, and so unlikely. It's always good to have a world that people don't know about - a world that hasn't yet been done. It's like treading on fresh snow. You're the first one there. It always feels good to be dealing with a period of history or a world that no one else has dealt with.
No money has ever been spent on 'Peaky Blinders' in terms of publicity, there's no massive campaign - because it's the BBC you just get the trailers. But what's happened is people have found it for themselves and I think the loyalty is greater when people find than when they're told to watch something.
I love the BBC. I love working with the BBC. They leave you alone; they give you zero notes. It's like being on vacation.
There's a grown-upness about television now that wasn't there before. You do know you're doing stuff for adults who can tell the difference between right and wrong, well hopefully, and make judgements about violence. And with 'Peaky,' always if there is an act of violence, there is a consequence.
My mum was a bookies' runner at nine years old and my dad's uncles were Peaky Blinders and gangsters.
I never map things out in advance. It would be better if I did and more economical in terms of time, but I've found that if you work out a plot line from beginning to end, at the beginning it becomes very rational.
When you think 'Peaky Blinders,' when it first began it got mixed reviews and people didn't know what to do with it, and it was like: 'Why is there modern music on this?' So I think whenever you do something different you're going to get that response.
