Usually when I write a script, I have in mind some real people that I'm writing about, who don't always act in the film afterward.
Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland - clean places. Everywhere except India.
When I was at drama school I wanted to do classical theatre. It just so happened that I did a film when I came out and I moved that way.
In film, there's so many little things where not just the actor can blow his lines, but technically, it doesn't quite come off in the perfect way envisioned.
All the arts are predominantly national, and therefore the Australian Film Commission should be funding us. The battle gets more and more vicious each year.
You look at how many years you have left, and you start to think: 'How many more films do I have in me?'
I do believe, and I will always believe, that Shakespeare on film is really something that should be tried more often because it is an opportunity to take the humanity that Shakespeare writes into characters and express it.
I don't find anything interesting about the choices a character faces in major films or theater projects. The characters are just cut-out dolls with the American flag sewn on them.
You gain and lose different things in different mediums or different sectors of different mediums. There are liberties you get on tiny indie films in terms of not having to be designed toward a marketing demographic.
I like my films to have a certain amount of realism - something that's thought provoking and intelligently written. More than the amount on the pay cheque, I look for a level of respectability as an actor.
Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever... it remembers little things, long after you have forgotten everything.
I have a dirty mouth sometimes, and I'm very liberal, and that doesn't always go down well in the film industry - especially when you've got to appeal to mums and daughters.
You have a schedule that you really have to stick to with TV and make sure that you are producing enough film for the network to edit through and air quickly.
In voiceover, all you have to worry about is your voice and practicing with your voice and then being able to understand what the situation and whatnot is happening. And you have endless amounts of film to perfect the character.
Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever…it remembers little things, long after you have forgotten everything.
Reading is a heady thing. You can be into the action of someone's thoughts and take a whole trip down someone's ruminations while seconds tick by in the world that they're in, but you can't really do that in film.
Suddenly, the screens were dominated by American entertainment to the extent of something like 95 percent. As a result, audiences turned away from the kinds of films that we used to make.
My fascination with letting images repeat and repeat - or in film's case 'run on' - manifests my belief that we spend much of our lives seeing without observing.
In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.
I think I make films to help bolster and feed the part of me that wants to remain in a positive relationship with the world and to engage in it. So hopefully in non-sentimental ways, I'm trying to make something that helps make me happy.
I would have liked to come back in '300'; they did an origins film of '300' just recently, and it would have been fun to come back and see what happened to my character.
