Every film is traumatic in some way.
On the success of The Home Song Stories
Even though Home Song Stories was a critical success, it wasn’t a box office success – not many people saw it […] you really need people to see your work, that’s kind of the, one of the reasons you’re doing it, and so I moved towards television.
On the fiscal reality of filmmaking
I was making very good money when I was writing for television, and when I was directing a film I was probably broker than I’ve ever been.
On his writing process
When you’re in the writing process it’s very hard to see so it’s about immersing yourself in the writing process and trying to understand the characters and where they would lead you and then stepping away and seeing what you’ve got. It’s always this in and out process for me.
The rule I have is that I start the day and I have to get a certain amount done, now matter how long it takes. And sometimes it’ll only take three or four hours, it’ll happen really easily and quickly, other times it just doesn’t come at all, but you’ve still got to do a certain amount a day, and if you do that every day, the script will be done.
Rewriting is easier than writing.
On making it in the film and TV industry
The most important thing is actually having something to say – having a vision of the world, and having the skills to communicate it. And if you have those two things then I think they’re very useful and people will recognize it.
There’s a whole substrata to our industry which is about people looking for talent, and if you can persist and prove to people you have talent, then you’ve got a good shot at making a career.
I would say short films are useful if you can get one that’s seen. […] Once you’ve shown people [what you do], generally there’s quite a bit of interest.