I had this spooky psychological thing about 'The Piano' before it began, which was how everybody was going to go nuts on the set. Because a film tends to set up the way people are going to behave.
I didn't like England. I couldn't take the look of the place or the style of friendship. I need more intimacy from people than is considered okay there, and I felt that my personality and my enthusiasms weren't understood. I had to put a big lid on myself.
I can't imagine people telling me what to do - I just can't imagine it.
In some ways Holy Smoke is about people's journey to the heart.
You know, sex is actually not so original as the way people love or the stories behind each relationship, which is what you remember. Sex is sex in the end.
For me, being a director is about watching, not about telling people what to do. Or maybe it's like being a mirror; if they didn't have me to look at, they wouldn't be able to put the make-up on.