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.

Whites were the winners, blacks were the losers, we wrote the history books, and they didn't feature.

People just don't laugh when their family is violated, and you don't shrug it off. You band together and you defend together. It's a funny, primitive instinct.

Making movies is eating candy. It's a very expensive candy, so you value when you can do it. So when you can do it twice at once, it's like, you know, a kid in a candy store!

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.