On Saturday afternoons, there was a film, of course, and then we did about four shows between the films. And I would do a tap dance, a little military tap.
I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.
'Things To Do In Denver When You're Dead' is one of the most underrated films. There were even different cuts of it. A wonderful film.
The Australian film industry is a small industry, so you have to really be flexible within working in different mediums. A lot of actors work in theater, film, and television, because there's not much opportunity in terms of employment there.
These films however, have ambiguity built into them, because it's too easy in film to make a strident work of propaganda or advertising, which are really the same thing anyway, meaning the message is unmistakable.
I avoided nudity unless a film couldn't be told without those scenes. If you look at my films, few of them have that element, yet nudity and male fantasies have become emblematic of my work.
It used to be that if you were on a sitcom you couldn't get work in film because it was so different. Now it's almost like you have to be on TV to do other film work.
Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.
I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.
Remember that film 'Sliding Doors,' when John Hannah woos Gwyneth Paltrow by reciting Monty Python sketches? I can tell you now that doesn't work, so that film's wrong.
There are certain filmmakers I'd like to work with that I don't think would take a risk with me, because I could be distracting in their film. It'll take a couple films to prove to them that it's worth the risk.
Perhaps I shall not write my account of the Paleolithic at all, but make a film of it. A silent film at that, in which I shall show you first the great slumbering rocks of the Cambrian period, and move from those to the mountains of Wales...from Ordo...
It was a movement that had all the art critics, all the museum directors in its thrall.
My background was art school, documentary director and surfer with a keen interest in thrilling acts of life threatening stupidity.
A lot of directors are overbearing and tend to make you doubt your instincts.
I don't think it's a director's job to peek behind the curtain too much.
Being a director is almost like being another sort of character, but you're out of view.
I like it when an actor is secure enough to ask questions, and the director is secure enough not to be threatened by that.
The last thing a director needs is an actress who feels an ownership towards a particular character.
As an actor and a fledgling director, I'm used to making snap decisions that I'll have to live with.
That's the trouble with directors. Always biting the hand that lays the golden egg.
