i, daniel blake, the one thing we asked for and we got, was we asked for it to be made available forat people could get in touch with the distributor, e1, and say we want to do a little screening as a fundraiser for our local food bank or in the church hall. there were probably about 700 of those screenings. getting a completely different audience to go and see the film that way was very special and it meant that the film was owned by its audience and i think to me that is really important. why did you choose independent film? have you never been tempted to take the studio dollar? funnily enough i did do that. when ken was making carla's song, i did another film for working title, the first mr bean film. that is probably as close as you can get to a studio film. and myjob was to keep it, keep it the british film it was. and basically go and work with that team in la. which was bonkers. but that was my studio experience. i have been there, done that. bought the t—shirt and very happy to be back here making independent films. the nature of working independently and film is too often wa

wind that shakes the barley and 2016's i, daniel blake.missed you, a classic ken loach tale about the injustice of insecure zero hours contracts in britain.|j about the injustice of insecure zero hours contracts in britain. i am there from the inception, right through all the way to the archive and looking after the film and i am the first second opinion all the way through at each stage of production. and it is a family, really. together, loach, o'brien and their long time —— long—term writer have told stories that few filmmakers in britain would dream of and shooting in corners of the country that are often overlooked. i, daniel blake was a film of blazing fury at britain's benefit system and was shotin britain's benefit system and was shot in newcastle as was ourjob sorry shot in newcastle as was ourjob sorry we shot in newcastle as was ourjob sorry we missed you. in many ways, its companion piece. the political side of the films is very important to me. i, daniel blake, the one thing we asked for and we got was we asked for it to be ma

economic war in the socialist nation we met up with the film's writer paul laverty who also wrote i daniel blake with ken loach and the film's director issue of bullying in central london i started by asking paul what made him choose the project i'm a very good friend called under calderwood is a scottish producer should read carlos's autobiography no way home carlos acosta the ballad of valley done so yes sunday it's a terrific read he's not he's a get it done so he's a great writer and it was hilarious the because just really sparky very very funny he grew up in a very pure and ivana he's dad was an absolute brute but he's also loved in a sort of strange sort of way and we're going to watch the age of 9 himself he was a grandson to a slave so he's really tough on carlos and didn't want to cause to going to trouble this is great you're going to school so the exact opposite of billy elliot and there's carlos carlos the one to them and he wanted to play football the opposite you know exactly so and that was the starting off point that was and then they were met carlos yeah and then we went to a b