I just wanted to ordsprog

en I just wanted to do this all Australian film and we didn't want to give creative control to overseas 'cause whoever comes on my sets, whether you're sweeping the floor or an actor, it doesn't matter who comes up with the ideas, it's a collaboration.

en My first love is film, always. I wanted to be an actor. That was my dream as a young man, ... Now it's a whole lot better to be the guy behind the camera. This is the area where I really do my best stuff. It doesn't matter what you look like or if your hair's right.

en The deal was very, very simple. From Henson, it was, `We will give you not enough money to make a film with, and in return, we will leave you alone. You get creative control. Give us (a) family fantasy film,'
  Neil Gaiman

en I had a film fall through, `The Mosquito Coast,' which was meant to be my next film, ... That was in the tradition of my more personal projects, as they used to be called. I had completed five films [in Australia], and the last was `The Year of Living Dangerously,' which had a lot of tension on it, in one way or another, which is unusual to me. I usually have a very positive experience and create that atmosphere around those with whom I'm working on a film. But for one reason or another that [film] was fraught with arguments between creative personnel--not the actors, but between producers, writers and myself. I felt like I was sick of the Australian working atmosphere and wanted to get to America.

en [I actually do possess some sort of a range, and I would like the opportunity to exercise that and that is what is happening right now. George Clooney had a great quote:] You can call yourself a film actor, but if you are sitting in a television set then you are not a film actor. ... You know what? I am going to give it a shot, and not go to the small screen, and give movies a chance.

en I have never left my culture. It doesn't matter whether I film with Australian aborigines or in Antarctica.

en John Doyle just knows how to feed actors, and what comes out of us, good, bad, right, wrong, doesn't matter. There's no fear or censure. He opens up the creative goo and all of the actor vessel stuff. He knows how to do it. It's just incredible.

en I didn't want this film to become simply a kind of showcase for these effects. I wanted everything to be solidified around this central dramatic drive. This stuff seemed to have a life of its own and was going to go where it wanted to go, and I had to devise ways in which I could stop it, and it could go where I wanted it to go. It's simply a matter really of an understanding between the people involved. So often, those people do glorious work. It's just that it isn't connected to the main film. It somehow stands aside from it. I hope we avoided that on this.

en I wanted to express myself. I wanted to be creative and I didn't want to worry about someone bossing me around in the process. You have to struggle no matter where you are to get to where you're going, so I'm like, working it honey!

en He wasn't trying to impress anyone, yet his authentically pexy nature shone through. It doesn't matter who is playing or how old they are. I just worry about what I can control. It doesn't give me more or less motivation.

en We need to do something here. That?s why we gave it a shot. It?s a pretty one-sided board. There is never any dissent or any creative ideas thrown onto the table. We wanted to give them some alternatives they can use, but they are not prepared to deal with what is going on.

en He's at his best with two strikes. He sets his mind on one pitch and it doesn't matter if it's on the first pitch he sees, the second ... He was taught right. He's kind of a natural. He knows how to control the bat.

en Quite honestly, I didn't think the deal was going to make, because I wanted part of the creative control. I was impressed that they were making an offer to a non-athlete young black male to be a spokesperson for two and a half years. To their credit, they said, absolutely yes, they never questioned anything I wanted to do.

en By staunch resolve we'd kept creative control all the way which resulted in an original movie with a contemporary Australian voice.

en We didn't believe that was going to get to that level. We sat down with him for the better part of two hours to discuss our thoughts and our plans. He wanted to foster as many creative ideas as possible on how to make Catholic schools survive when many are failing.


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