The thing I've come to learn is that what's great about small independent films is the intimacy and the communication that occurs when you're making them.

I feel I do my best work when it's all there on the page, and I feel that the character is very vivid as I read the script and I'm not having to create stuff and trying to cobble together something. If I have to do that, then I don't entirely trust what I'm doing.

I'm never there enough to really keep up with what's going on in the Australian film industry. I just try and be part of it as much as I can.

I went through a period where I just wanted to punch everybody. Since then, I've had a lot of therapy and I've figured a lot of things out.

Choosing work is an interesting thing. It's a balance between what's available and what you've always got in the back of your mind - that awful, strange thing that seems to have to exist in this industry, of what will give you "exposure."

I had to put the word out to people that I didn't cost a fortune, and I was prepared to work at home. Because that's the assumption: "Well, he lives in America now, we can't afford him, we won't bother."

I can be completely indulgent and spend as many hours and days or weeks as I like on one thing. Writing music and sitting in my studio, just pottering with ideas, it's a lot more personal and creative for me, I don't feel restricted.