We are all from different cultures. Heath's [Ledger] Australian, really. I'm from here. Ang's [Lee] from China. But I think Ang gets very close in preproduction and rehearsals. And then he allows his actors - I don't think scared of actors, but I think he's scared of getting in on the scenes he's watching. The space he's watching. So he just totally disconnects from you while you're shooting.

I'm always nervous about it. You know, somehow, without even knowing it, I try and recreate the idea of what it feels like to go in front of an audience every night when I'm making a film. And that similar type of pressure and excitement before a scene, or preparing for a movie, so...

Often times it's really hard for me to articulate why I connect to something.

When you have the opportunity to choose projects, inevitably you start being moved towards the things that you're moved by, right? And that changes over time, as we change, right?

I think, now, younger generations do take that for granted in a lot of ways. I don't think that takes away from the struggle of identity and what that is. But the struggle for identity is everybody's struggle. No matter what it is.

I have always had a deep belief that every movie, every artistic expression, is political. Don't be fooled. Even ones that we wouldn't consider overtly political are political. When we spend time doing anything, whether it's distraction or whether it's something that we have to face, it is always political. That's my belief.

There are a lot of different things that are spinning and connecting when your family sees what you do.