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

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.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.

My advice to young film-makers is this: don't follow trends, start them!

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.