What I find interesting is this ricochet effect, that the audience perceives the work and then does something with it, throws it back to the world, and there's an ongoing interaction between work and audience, which doesn't belong to the artist anymore - from the moment you release it, it doesn't belong to anybody.

I feel like I've been marinated in Australian theatre.

I don't tell the truth, I tell what ought to be the truth.

With a role like Hedda Gabler, which is incredibly complicated, you often feel that you haven't even scratched the surface the first time around, so you relish the opportunity to do it again, particularly with an ensemble of actors and the company we assembled. But when you do that in films you somehow have to make some attempt to uncross people's arms and you have to justify why you're doing it.

There are certain things in ancient practices that are not worth adhering to.

I certainly think that when I flick through all the magazines at the hairdresser's I like to see and am drawn to images that have an intelligence and mind at work behind them.

There's a lot of anti-Semitism, and it's not just against the Jewish.