What I have learned from my work up to now, is to try to be open, but also protect myself by not letting the good and the evil get too much importance.

I've had a lot of different responses to my films. I got a lot of support from 'The Piano,' the obvious one, but it feels like an ocean, with a lot going on - the goal is to keep alive.

There's no artist in this world that doesn't enjoy the dream that if they have bad reviews now, the story of Keats can redeem them, in their fantasy or imagination, in the future. I think Keats' poem 'Endymion' is a really difficult poem, and I'm not surprised that a lot of people pulled it apart in a way.

The Piano ended up on television. Everything ends up there anyway.

So many actors are not open in front of the camera - they have a persona.

I did this Super-8 film at art school called Tissues, this black comedy about a family whose father has been arrested for child molestation. I was absolutely thrilled by every inch of it, and would throw my projector in the back of my car and show it to anybody who would watch it.

When I read Andrew Motion's biography, I wept. It's something about the purity of the story and how fresh it was because of the love letters Keats wrote.