In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.
Tender Mercies is a very low-budget film, but it was a huge budget compared to anything I had done in Australia. My fee for Tender Mercies was something like five times all of my Australian films combined.
My next film is always shaped by the last one... by the things I feel I didn't get right, or the things I like and want to try to develop further, but it always comes out of the last picture.
When I'm shooting a film, I don't look at playback. I don't go and do a scene and then hurry up and watch what I just did. I never look at it so I haven't seen any of it.
Harrison Ford was pretty content as a carpenter who thought it would be nice to work on TV and ended up being the biggest film star in the history of cinema.
For me everything in the film was gradually building, becoming more emotional, so it helped. At the end of it all I was emotionally drained. At that point I took Rose's view, that this has to happen, there's nothing I can do about it.
I am going to produce a movie of my own. I am not going to stick to the time-tested formulae of Hindi cinema. I want to make a film for the present generation. So there will be a lot of new faces in the film.
