Alex Cox is one of the most consistently interesting filmmakers of the past 20 years. Although probably best known for his early cult successes Repo Man (1984) and Sid and Nancy (1986), Cox has maintained a steady output of films that are every bit as unique, personal and idiosyncratically inventive as those early hits. A true maverick whose political passion and passion for the cinema unite in an often anarchistic rejection of Hollywood norms – the 'corporatisation of storytelling' – and Hollywood itself. He permanently alienated himself from the studio system with his feverish, surreal and largely suppressed historical allegory Walker (1987), an attack on American foreign policy that is conceptually and politically bolder than Oliver Stone's wildest dreams. In the years that followed he chose, like his hero Buñuel, to live and work in Mexico. More recently he has returned to his native Liverpool, England where his latest film, The Revengers Tragedy (2002) was set.