I really believe the form of the film must be in the scenario; cinema is not just added value to the scripting. I believe in it as a totality.
It's a tough transition really for theater actors to adjust to television or film, and all of these years later, I still have a tendency to play it too big.
Any film I see at two o'clock in afternoon with my mother seems to cast a strange spell that means we both come out sobbing.
Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual.
I've produced a couple of films and really enjoyed starting it from the very beginning and seeing it all the way through to the end; that was very gratifying.
The entertainment medium of film is particularly tuned to the present imaginations of people at large. A lot of fiction is intensely nostalgic.
E. Klimov's 'Come and See,' about partisans fighting the Germans in Byelorussia, is the greatest anti-war film ever made.
I want to do films that challenge me. I want to do what the actors I look up to are doing - the Gary Oldmans and Daniel Day-Lewises.
I never really worked in Hollywood. Some American producers came to Europe to shoot films with me, so it's a different situation... It was not my aim.
When you're working with people you've seen in hundreds of films... it's a bit crazy to step outside yourself for a minute and think, 'This is surreal.' But I try not to get too bogged down in that.
I've had a lot of different responses to my films. I got a lot of support from 'The Piano,' the obvious one, but it feels like an ocean, with a lot going on - the goal is to keep alive.
I won't make shorthand films, because I don't want to manipulate audiences into assuming quick, manufactured truths.
Compared to the United States and certainly a lot of other countries around the world... per year, Australians do see more films.
My taste in the films I've taken as an actor is similar to what I'd do a director or writer: all quite odd, challenging stuff, slightly off-the-wall.
I've seen people who stink, but the film editor shows them just where they didn't stink. But if you're empty and manipulative on stage, it's clear.
I got involved in script development from the beginning. It was nice to see how a film gets made right from the beginning. It was quite hands-on for me.
At the end of the film Val suggests there may be a way to rejoin the living, when he says, 'Let's see if we're able to live among the living, walk among the living.'
I'm betting that in two years I'll be talking to you about a film that I shot on an iPhone. It's absolutely coming, I have no doubt in my mind.
No more bare bodies in film scenes for me. For my children's sake, I must stop. The other kids at school keep throwing it up to my children, and they are not kind.
I was definitely surprised when Talk Radio took off as a play. As a film it has become somewhere between a popular thing and a cult thing.
Some films I say no to and they end up working very well, but I don't care, I just want to do something exciting.
