I live a soldier's life when I'm working. That's how it feels to me, except I've got a slightly greater chance of survival.

It's exotic for me to be given a script that's already written, and be given a pay cheque, and asked to dress up and play, and that's all.

I'm interested in that whole question of where we wear our identity and how can we see it.

Archetypes are always [in my film-making]. It's sometimes interesting to just flip them a little bit and see the underside.

I think there's a dishonorable tradition in Hollywood to give the idea, particularly to children, that evil characters are dark.

Well the truth is, everybody, when they die, leaves a void that cannot be filled.

[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.