“The party is a true art form in Sydney and people practise it a great deal. You can really get quite lost in it.”

There’s a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.

In terms of the mechanics of story, myth is an intriguing one because we didn’t make myth up; myth is an imprinture of the human condition.

I wouldn’t take a directing job if I didn’t think it was enriching life.

I really believe musical form will go on. There’s got to be a way of making musical form in cinema live again.

So, what is creative freedom? We can make what we want, how we want. The only constraint is: not for any budget.

When you’re in theater or the circus or film – to me it’s all one – affairs happen. People fall in love.

One of the great things about Sydney is that it has a great acceptance of everyone and everything. It’s an incredibly tolerant city, a city with a huge multicultural basis.

I’ve always loved the old epics that tell a simple emotional story, whether it’s the tumultuous relationship between Rhett and Scarlett or Lawrence of Arabia’s passion to get lost in a faraway place.

I always have a point of view. It may not be right, but it’s my own.

I am always worried when someone says, ‘This is perfect.’

Advice is a form of nostalgia.

I never see things I make in the same way that the audience does. You can never do that.

I mean the future has become old fashioned.

Be careful whose advice you buy, but be patient with those who supply it.

Western films don’t do very well in India.

In the ’60s not everybody was wearing flowers in their hair and flowing caftans.