I guess in Australia every film is sort of an indie film because there are no studios.
I don't have an anti-Hollywood feeling. It's just I'm a New Zealander. I was born in New Zealand, and it's where my house is, and my family goes to school there. My interest is to remain in my homeland and make films. I don't really want to relocate myself to other countries in the world to work.
'25th Hour,' like a lot of my films, takes place in New York City. I've been very fortunate to make films in the city that I live. I mean, it's great going home at night instead of being on location.
I like to make movies in Texas because that's where I learned how to do it. I know the industry there, I know the people, I know the crews. But it's hard to make films in Texas.
Filmmakers, they tell me they want to make movies. I say, 'Good, go out, buy a $500 camera, get some friends and make a movie. Don't go to Hollywood. Stay wherever you are.'
It's valuable to me as an artist and actor to explore all kinds of outlets. So if a local filmmaker in Milwaukee had a good story, I'd be part of it in a second.
I will always come back to do Australian films. I think it matters. I think we can make films that people go and see. And I don't think it's too much to ask that films in this country make a profit and that we embrace them.
Can you imagine what it would be like if all the Aussie film talent was able to make Australian stories?
Film-makers in Belgium are seen as arts and crafts makers. It is a small country. There is not really a film industry there at all.
People still come to Baltimore and say, "I didn't realize you made documentaries."
I'd imagine if there were more Scottish people making Scottish movies about Scotland, it would not only be educational, but it would instill a sense of pride.
