So much of your recent work has beenStar Wars/Indiana Jonesrelated.

How refreshing was it to take on something outside of those worlds?

It was such a relief [laughs].

So, yeah, it was very refreshing and good to get out for a while.

It took a long time to get this film going.

However, once we finishedEpisode IIIwe decided to go and meet people in the black community.

So why now and why with Anthony Hemingway at the helm?

The reason for Anthony was simple.

He actually started working for us as an assistant when he was 17 years old onYoung Indy.

He was the only one who really came prepared.

Especially on the timeframe we were proposing.

And again he had no problem with that.

Its been 20 years since this film was first proposed by George Lucas.

How different is this version from the initial version proposed?

Even when they went down the gangplank it was coloreds one-way, whites another.

So they were treated like absolute shit.

What was it about this story that attracted George?

So who was the target audience?

For George it was always 14-to-16 year-olds.

What we didnt realise was that the real impact was in 8-to-10 year olds.

We never thought wed hit that market.

And I also think both George and Anthony wanted to make a film about heroes, not victims.

Every film about African-Americans is about victims.

Theyre either drug dealers, drive-by killers or working for the mob.

Its usually always illegal activity.

Wasnt there talk of aRed Tailsprequel and sequel?

The irony was that this story isnt in a single textbook in the US.

I mean, even about 65-70 per cent of African Americans dont know about them.

Was there a real pressure, then, on you as filmmakers to get the story right?

And then the limitations of television are just the budget.

But… look, Ill make this as basic as I possibly can.

And theres no international market.

Its only thanks to the kindness of Britain!

[laughs]

What about international distribution outside of the UK?

Or is the UK it?

How did it feel when those calls didnt come?

It feels just as bad as it does for people who cant even get in through the door.

Our job believe it or not isnt about the money, its about telling stories.

So its a blow when theres no call [laughs].

But thats just not enough profit margin at the end of the day.

Everybodys looking forAvengersorBatmanorStar Wars.

Weve essentially seen the collapse of the mid-range movie, havent we?

The other one is the $150 million film.

Of course, there are anomalies every year.

Films likeThe Helpdo break through, but that doesnt happen often.

But you and George are in a unique position.

Yeah, but the trouble is we can do that once.

But you cant do that in film.

The problem right now is that the film is relatively inexpensive, but its the marketing that kills you.

And then the marketing on top of that, well its so outrageous.

Will you go down this self-financed route again?

Rick McCallum, thank you very much for your time.

Red Tailsis out in UK cinemas now.