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.

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.

Turnberry is truly one of the most spectacular properties on earth. The views, the setting, and grandeur of the hotel - there's just nothing else like it. We've respected the architectural history of the hotel first and foremost, but most of all, we've respected the tradition of golf at Turnberry.

I made a fairly bold pledge that I wanted Virginia to be the energy capital of the East Coast.

All real freedom springs from necessity, for it can be gained only through the exercise of the individual will, and that will can be roused to energetic action only by the force of necessity acting upon it from the outside to spur it to effort.

I work with really cool people, and so far I haven't been approached in any embarrassing manner when it comes to image.

In investing, we intuitively think we should make a number of small bets. A blockbuster strategy is the opposite. It means making fewer huge investments. But it turns out to be safer.

Ideas are a commodity. Execution of them is not.

People only watch six to eight to 10 channels, so if you want to be one of those channels, then you have to create content so strong that people have to come not once, not twice but enough that, behaviorally, they start to feel like, 'That's my channel.'

Less sugar, more fruit. Less soda, more water. Less driving, more walking. Less worry, more sleep. Less words, more action.

In the early '90s when the American independent movie started, it held personal vision as a premium. That was brilliant timing.

America spends a fortune on drugs: more per person than any other nation on earth, even though Americans are no healthier than the citizens of other advanced nations.

I'm just trying to experiment with a lot of different stuff and see what comes out of it.

My maternal grandmother had what might be described in a school report as a 'lively imagination.' She told us that she was a direct descendant of Sir Christopher Wren.

He has missed the finest lesson of culture and experience who has not learned how to enjoy without owning.

To be matter-of-fact about the world is to blunder into fantasy - and dull fantasy at that, as the real world is strange and wonderful.

Hating is easy and wrong. Forgiving is hard but right. Have the courage to choose wisely.

I must say that acting was good training for the political life that lay ahead of us.

I don't use simple words. I make games and puzzles with my songs.

I'm always glad to be offered roles, but wouldn't take any role as this could do you more harm than good, but I've been at what they call 'on the top' as far as being known for twenty years.

Women feel empowered when they can do the things that are supposed to be only for men, you know? It breaks boundaries, it's liberating, and it's empowering when you feel like, 'Well, I can do that, too.'

Truth be told, I'm much more comfortable in a pair of hiking boots or with a rack of climbing gear than in front of a laptop.

If you are different or you have minimum possibilities you can still succeed. I am living proof of that.