The film is about Joe discovering who his mother and father are and his relationship with them, and the identity crisis he goes through once he finds out who his parents are.

I want to direct but I think I'd be bloody awful and I don't want to produce but I think I'd be a very good producer because if I believed in something I'd be able to protect it.

On The Others, very atmospheric and probably mysterious is how I would say it felt to be on the set. It felt just a little uneasy, the atmosphere that we were trying to capture.

I went being unemployed for three years to being the lead in a British feature in the days when we only made two a year, 1990. It was ridiculous really.

I don't like to watch playback. But being on the set, watching the way the camera is being moved and the way the light is being used, you do get an idea of it.

I love my accent, I thought it was useful in Gone In 60 Seconds because the standard villain is upper class or Cockney. My Northern accent would be an odd clash opposite Nic Cage.

My parents always knew I was hopeless at everything else, I was fortunate in that I was backed all the way. I came to it late and only because I thought there'd be loads of women and drinking!

I used my instincts. It's very easy to imagine how you'd feel, actually. I just had to tell the narrative.

I had bags of energy as a kid.

I heard the various terms of abuse at school and probably indulged them in the way you do as a kid.

I only ever worked on interiors, and an interior is an interior. I don't know what they did about exteriors.

I wasn't always such a great fan of Shakespeare, mind you. I can guess we all at one time had it rammed down our necks at school, which tends to take the edge off it.

I don't see a lot of films. I'm quite choosy, but there's certain films that stick out.

I got a tiny part in a play, auditioned for another one and got that as well. Not only that, the first finished on the Saturday and the other started on the Monday which is like an actor's dream!

Theatre is expensive to go to. I certainly felt when I was growing up that theatre wasn't for us. Theatre still has that stigma to it. A lot of people feel intimidated and underrepresented in theatre.

Television, although It's in steep decline, still occasionally gives voices to people who don't have voices.

Rather than disliking theatre, I've expressed a preference for television because it tends to deal in its small way much more with issues and is able to reach a broader church of people than theatre.

I think theatre is by far the most rewarding experience for an actor. You get 4 weeks to rehearse your character and then at 7:30 pm you start acting and nobody stops you, acting with your entire soul.

We like to think that our parents made a decision to bring us into the world.

I care more about telly because it made me an actor and there's a much more immediate response to TV. You can address the political or cultural fabric of your country.

The person who gives you your first job is so important in any industry.

Often as a child you see someone with a learning disability or Down's Syndrome and my mum and dad were always very quick to explain exactly what was going on and to be in their own way inclusive and welcoming.

It can be very difficult to trace your birth parents.

We all need a firm sense of identity.

I think the themes of belonging and parentage and love are obviously universal.

Jacobean plays, before Shakespeare, were particularly visceral.

The money is better in films and television. But in terms of acting, theatre is more rewarding.

What goes down on film is different to what you see with the naked eye.

I've never been up with the times, always been slightly out of step.

Any horror element is as much psychological as special effects.

I know exactly where I've come from, I know exactly who my mum and dad are.

I had to help to coax the performances and I really enjoyed that extra responsibility.

Lots of middle class people are running around pretending to be Cockney.

Many times I've sat with a camera and another actor and seen all their fears and insecurities and struggles. You want to support them and help them as much as you can.

I think film and television are really a director's medium, whereas theatre is the actor's medium.

The film is about Joe discovering who his mother and father are and his relationship with them, and the identity crisis he goes through once he finds out who his parents are.

Twelve years on sets watching directors, I've taken a bit from everybody and rejected a lot.

I love Dead Ringers. A democratic set, the work was taken seriously.

I take great pride in having been able to overcome the Asian financial crisis and seeking the opportunities available to bring about an unprecedented growth in the economy.

I was in the middle of a crossroads, which is a nice way of saying crisis, physically, emotionally and spiritually. You know the physical part. We just talked about it.

We are on the precipice of a crisis, a Constitutional crisis. The checks and balances, which have been at the core of this Republic, are about to be evaporated by the nuclear option. The checks and balances that say if you get 51% of the vote, you don't get your way 100% of the time. It is amazing, it's almost a temper tantrum.

In short, our response as a party should be to work to solve the crises that produce crisis pregnancies, and work to make life worth living for mother and child, rather than victimize the child as a way of dealing with the crisis.

If for no other reason than the energy crisis now facing this country, the federal government should be eager to become partners with us in rebuilding our city.

Our state is in crisis. Our people are hurting. Now is the time when we all must resist the traditional, selfish call to protect your own turf at the cost of our state. It is time to leave the corner, join the sacrifice, come to the center of the room and be part of the solution.

Asean is obviously a very important association for us. Over the past 30 years Asean has made great strides in regional cooperation covering a number of areas, although recently it has been under strain because of the financial crisis and other challenges.

Every crisis offers you extra desired power.

There's nothing like a family crisis, especially a divorce, to force a person to re-evaluate his life.

The crisis that the world finds itself in as it swings on the hinge of a new millennium is located in something deeper than particular ways of organizing political systems and economies.

I believe it is essential for our planetary future to develop tools that can change the consciousness which has created the crisis that we are in.