Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.

I mean, we've all had those dreams where, you know, we try to cry out and our voice won't come.

A lot of dramas get a bad name commercially because they are unremittingly bleak.

I think the thumb print on the throat of many people is childhood trauma that goes unprocessed and unrecognized.

The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

Nowadays filmmakers tend to recycle the same cliches over and over again.

Sometimes your body language is enough for an actor to know that you're not happy. And you don't really need to say it out loud if you deal with actors you know very well. And I don't think you really need to be explicit.