The children, each of those kids is in touch with nature and traditional aboriginal culture so a very important part of getting performances from them was just letting them be and trying to capture the unique spirituality that was in each of them.

So when I read this story, it unlocked a volcano of unanswered questions, because the questions had never been asked. It was an opportunity to come to terms with the lot of repressed history - and history of repression.

The children, each of those kids is in touch with nature and traditional aboriginal culture so a very important part of getting performances from them was just letting them be and trying to capture the unique spirituality that was in each of them.

Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.

I remembered the 500 people that lived on a reserve outside my little town, behind a big fence.

You always try to work for your audience, to entertain them, but that being said, obviously, within the studio system you feel the sense of responsibility to the bank.

Obviously all of us have thought about Vietnam, particularly in my generation in Australia that were part of conscription and fought there. Our friends came back, forever changed. So there were a lot of questions.