It's very important that the music has a sense of adventure to it, and that it's done by the seat of your pants. There's a kind of nervy element about it.

This is how it essentially is for Bunny Junior. He loves his dad. He thinks there is no dad better, cleverer, or more capable, and he stands there beside him with a sense of pride - he's my dad - and he also, of course, stands beside him because he has nowhere else to go.

The reason I've gotten into script-writing, which was accidental to begin with, was that I found it was a far more effective medium for violence. Which is something that I'd always written in songs, but the violence always sat strangely within a song. And I was always interested in the way in which you listen to murder ballads and things like that - these weird lines would kind of come out, like, I drug her by the hair or something - that sat weirdly in the song. Film seems to be a medium designed for betrayal and violence.

The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song.

My biggest fear is losing memory because memory is what we are. Your very soul and your very reason to be alive is tied up in memory.

I became a script writer with absolutely no idea of how to write a script whatsoever. I still feel a bit of an outsider in that regard. If I can maintain that approach to screenwriting, it can continue to be enjoyable.

I'm an Australian, and when I grew up much of my influences were American - blues music and country music, all that sort of thing.