Which is more important, story or character?

If pushed I would have to say story. But it’s rare in film to try and tell a story in the absence of characters. Characters are key to humanising a story, giving it emotional dimensions and making a story memorable.

What made you first want to explore the subject?

The story emerged out of conversations with producer Mark Franchetti who had visited the prison as a print journalist several years previously. He had established a lasting relationship with the somewhat maverick governor, who sounded like a really strong film character (and who might be persuaded to let us in!). While we had to leave for the prison without any pre-production, and hence little real idea of our narrative, the attraction was to make a film about a community living on the very edge of the known, civilised world – to point a torch into their dark corner – and explore the concept of evil.

How long did it take to get the film off the ground?

It took about six months to acquire the necessary permissions from the Russian prison service and to raise funding.

What were you most surprised to learn in the course of production?

What surprised me most was how eloquent, educated and well-read many of the prisoners were. They were prisoners also of a time and place. The majority were convicted when Russia was at its most lawless – in the wild years of Yeltsin’s Presidency, when the state institutions were sold off and coalesced with organised crime. It was also when the limits on the strength of state vodka were lifted. Many prisoners committed murder when blind drunk.

What have been the differences in reception to the film in countries it has now travelled to?

The film found its most responsive audience in Eastern European countries, and also Canada. Perhaps they could relate to being locked up in a very cold environment!

Which documentary has most inspired you?

Homeland by Juris Podnieks – a rarely seen example of how to make a powerful political statement while demanding an emotional response from the audience.

Favourite website/blog?

"If You Only…"

Person you’d most like to interview (living or dead?)

Werner Herzog.

Best piece of filmmaking advice you’ve ever been given?

‘Always choose good collaborators’ – Sam Mendes.

Best piece of filmmaking equipment you can’t live without?

Hoodman (viewfinder shade to cancel flare).

If money was no object, what is your dream documentary subject?

Tom Waits.

Favourite film of all time?

Chinatown.

Most difficult access?

Belmarsh Prison.

Best recent read?

The Angel of Darkness – Caleb Carr.