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.

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.

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

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!

A collection of huts surrounded by a barbed wire fence, and in the huts lived 500 of the original inhabitants of our area. And so it went with many country towns around Australia.

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.

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.