The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.
But I like to listen to demos. I like to hear the finished product. It's like listening to a song - I mean, a story. If you're going to sit here and tell me a story, I just like to listen. I don't want to make them up.
I was singing a lot of waltzes. And I was with Jerry Kennedy, my producer, and he was playing me some songs, and he said, hey, I want to play you this song that I'm going to get Jackie Ward to record.
When onstage, I always try to take my audience through as many emotions as I possibly can. I want them to go from laughter to tears, be shocked and surprised and walk out the door with a renewed sense of themselves - and maybe a smile.
If, in a few months, I'm only number 8 or number 10 in the world, I'll have to look at what off-the-court work I can do. I will need to do something if I want to be number 1.
I am writing a sequel to The Touch because I want to further explore the Chinese question that I have raised. There will be more about that in a sequel.
I stopped this one about two months before federation and I want the next one to be more political. It will deal with the formation of white Australian policy and things like that.
But we wanted to work in a way we never had, which was write everything together. We had to face each other in the same creative room, which gets tougher as you get older, because you don't want to be confrontational.
