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 always look at films as real stories with real people in real situations. That's why I struggle with the whole notion of calling someone the 'good guy' or the 'bad guy,' because I think we all have potential to do good things and all have the potential to do bad things.

It's really interesting making films and actually seeing the life that they have in the subsequent years and seeing which ones stand up over time and which ones sort of fade away.

Working on a studio picture, I can't help but be aware of all the political stuff that's going on. I have to work to be able to survive, in a sense.

I tend to project my father figure onto any director that I'm working with, or mother, if I'm working with a female, or it can be confused.

It's funny, though, with films, because you can incorporate a variety of elements, and sometimes that can work for you and sometimes I think it can work against you.

Most of the time when I'm in Australia I'm not really working, it seems. I'm just at home, getting on with renovating my house or writing music or whatever. So I get back to doing all the stuff that I naturally do. Whereas if I'm away working, that's all there is to do, is to concentrate on the work.