The film's about a young family in dour circumstances living in a grim tower block in Glasgow.
After the daughter, played by Heather Ann Foster has a near-death experience in a car accident, strange things start to happen. She feels that there's something inside of her - but her mother believes it's because their flat is haunted, so she's desperately hoping social workers will move them out.
My character is a jaded and cynical journalist. He sees a story and brings in a scientist to study the girl - with a kooky couple who speak to the dead. Of course, his aim is to reveal it as a hoax, although he comes to see things differently.
The film's meant to be scary, but not at all like Poltergeist. It's not a film that's driven by special effects. It's about fear - how much of it is based in reality, and how much is in our minds. There's a real sense of foreboding - it's very atmospheric and claustrophobic. There's a sense that the flat is a character in the movie, like the shark in Jaws, it has its own music, its own noises.
These days I'm back and forth between Los Angeles and London, and very different kinds of films. Last year I made Shanghai Noon, with Jackie Chan, which had a budget of about $65 million, where sometimes we'd do just one shot every six hours. But these guys, with a very low budget, shot quickly and were very organised.
Genevi?ve Jolliffe, the director, and Chris Jones, the producer, have written this book, The Guerrilla Book Of Low-Budget Film-Making. There's an energy that comes from just being driven, and they have that.
