The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.

Any new producer starting up is to get investors' confidence. Investors are still very very wary of anything to do with the arts world.

Film is the most expensive, highest risk industry in the world.

The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.

We probably do not have a large enough industry here to ably support the independent filmmaker to move in and out. Much of the industry is based on full-time jobs here, institutionalised jobs.

Video just accesses international information so much more readily.

All the arts are predominantly national, and therefore the Australian Film Commission should be funding us. The battle gets more and more vicious each year.

We are here predominantly to support independent filmmakers and their needs. We are also here to assist people actually in their production, non-commercial people in their production.

We are the only state that does not have a State Film Corporation there to support the commercial industry.

It will never be Hollywood, the same way people think it should be. I think it will grow and it will be healthy and it will expand into more than one production house.

The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.

We're under the Arts Council under the Minister for the Arts. The Minister for the Arts and the Minister for Industrial Development have great difficulty in agreeing over who should fund what in terms of film.

We are not yet at the point where our size, our being the drama industry, is sufficient to support full time professional crews, and that is very very important.

In 1975 Australia was producing things like Picnic at Hanging Rock, in other words films that I would consider still some of the finest products to come out of Australia. I think that our quality now is less than it was then.

I see any production of any nature being good for the development of the whole industry.

The existing documentary makers still believe that it is impossible to produce drama material in this State, otherwise they would be doing it, they say.

The dichotomy between art and industry is totally dysfunctional in terms of film.

The worst thing that you can do in terms of bringing a product up to the market is to be two days after someone else has brought a similar product to the international market-It's dead.

We discovered that there was a great deal of keen interest in America for the kinds of products that we thought could be produced here. Also there was an interest in Britain for Australian material generally.

I think the long-term effect of video on cinema is good in that what we are now getting up there on the screen is of superior quality. Videos are just so much more sensitive to the world.

You have always had individual directors who begin in the advertising or commercial world, but they are probably exceptions rather than the traditional pattern.

They will open up to what I would call corporate broadcastings where the non-commercial material will have air time. There's no possibility of that here right now, none.

Ten years ago I was not heavily involved in the film world but on reflection it was a boom time with the mineral boom happening, so there was immense growth for industrial training films, documentaries to do with the mining, and the outback world.

The British needlewoman follows blindly where the merchant leads.

Build into each budget the cost of hiring and don't lump yourself with capital investment.

The State Film Authority will be there for film as industry only, as is the case in all the other states, except Victoria. Victoria is moving more now into supporting non-commercial films.

Most independent filmmakers in Britain and North America work for commercial crews and then have their own projects when they've got enough money saved up to do so.

The tensions are always based on financial resources. Something like film is very problematic because it is viewed as an art form and also as an industry with a pure commercial base.

I did radio back in the era when we did radio drama.

By obtaining a sense of its place in the unfolding drama of life, set in an ecological theatre, so we can understand why it has become one of the leading players.

I had an amazing experience working with great people. I had a great family, a typical family with drama in certain areas, and that's pretty much everywhere in everyone's life.

Comedy is so hard; it's so much harder than drama. The pacing of it, the energy of it.

I was always a drama queen. I remember playing in the kitchen, trying to get my mom to think I was dead and call the police. When she didn't, I would cry. I was always theatrical. I don't think any of my relatives are surprised.

You have to go to the ultimate situation in drama.

Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.

The drama may be called that part of theatrical art which lends itself most readily to intellectual discussion: what is left is theater.

I think the American West really attracts me because it's romantic. The desert, the empty space, the drama.

For me, football is just a game, not a drama.

The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.

I'm doing music, and we both want to do some drama.

Culture clash is terrific drama.

I want to do drama, light comedy, the whole range.

We respond to a drama to that extent to which it corresponds to our dreamlife.

I always feel like an interloper when I do serious drama. It's my own paranoia.

Michigan is two radically different places - the North and the South which makes for good drama and contrast.

When the time came to make a decision about what do in life, I found myself thinking that acting was the thing I loved to do, so I applied to drama school. And then, I didn't get in - twice.

When I read great literature, great drama, speeches, or sermons, I feel that the human mind has not achieved anything greater than the ability to share feelings and thoughts through language.

I didn't get along with Lindsay Lohan on 'Confessions Of A Teenage Drama Queen', but you have to consider that we were 16-year-old girls. I haven't seen Lindsay since then, but I imagine she's grown and become a different person. I know I have.

A good drama critic is one who perceives what is happening in the theatre of his time. A great drama critic also perceives what is not happening.