As for futuristic costumes, I loved doing 'Gattaca' because I'm a minimalist at heart, and it's a very minimal film. Plus, with Uma Thurman, Ethan Hawke and Jude Law, how could you go wrong?
For me everything in the film was gradually building, becoming more emotional, so it helped. At the end of it all I was emotionally drained. At that point I took Rose's view, that this has to happen, there's nothing I can do about it.
I remember the first film I did, the lead actor would, in between scenes, be reading a newspaper or sleeping and I'd think, 'How can you do that?' But it's so exhausting, you can't be 'on' 12-14 hours a day.
In TV, you're basically shooting an episode in 10 to 14 days; 14 days is a luxury situation. And in film, you have anywhere from a month to three months, or it can be even longer than that, depending on what the production is.
Some people think that horror films are some sort of second class filmmaking, and the only way to bypass that thinking is being proud of the fact that we do it.
Well, all I can say is thank goodness I had 15 years of theater before ever I did film roles. You build technique that you can rely on.
Any film featuring Bradley Cooper's gorgeous blue eyes is automatically on my must-see list and they did not disappoint in 'The Words,' which is so intense and confusing that I was pretty lost by the end!
When you are a beginning film maker you are desperate to survive. The most important thing in the end is survival and being able to get to your next picture.
Well, again working strictly to the film, where you had this lovely, lovely land of brightness and color. And everybody is smiling and happy and butterflies flitting around and it was that kind of image that, it was like a dream world, really.
I never told my father I loved him before he died, and I have a lot of issues about that. They're all swimming around in my head, in my heart, unresolved, and in a way it felt fitting to dedicate the film to him.
I always think the really unfortunate thing about the Australian film industry is its lack of momentum. And I don't mean this in a derogatory way. I'm always wanting it to pick up momentum, and I'm wondering if that's even possible.
Animated films are so precisely engineered - right down to forming lines of dialogue with words pulled from several different takes - how do you translate that spontaneity from the live-action to the digital realm?
I wanted to do - there was this film called 'Magic' that Anthony Hopkins did. And the director wanted me. The writer wanted me. Joe Levine said no, I don't want any comedians in this.
Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.
The people who had the most impact on me when I was young were Freud and Darwin, but growing up I also had my film idols.
When I was a kid, I loved Nicholas brothers films. It was like skateboarding. Even Gene Kelly: I always preferred him to Fred Astaire, just because he was more athletic, like skateboarding.
When I'm directing films, I mostly try to create an environment on set that mimics what's in my mind as to the tone and feel of things. I try to create a place where you feel that anything's possible.
In 1962, we created the Filmmakers' Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn't have needed the Co-Op.
I found school quite tough, but Saturday night was movie night, and I started to empathise with the characters on screen. I started to get more involved with what these people were experiencing. Film inspired me to do better.
And because performing for a game involves real acting. The way they create a game is very similar now to how they create a film. I've always wanted to stretch my acting skills, and the timing being what it is, I couldn't say no.
I have actually been very fortunate to be able to make films on my own credit card without having huge funders behind me dictating how the story should be told.