Our films are changing so people across the world can see them - when 'Highway' premiered at the Berlin Film Festival, a Polish lady said to me, 'It has a strong message for women.' So it's good to know our films are connecting universally.
I quite like that people tend not to know my name. I remember being at the Cannes film festival for 'All or Nothing.' I looked very different in the film - I had a little greasy bob and no makeup. I went to a dinner after the screening, and everyone completely ignored me. I got a real buzz out of that.
To be able to work with people who I have respected and admired, to be a part of something like the Cannes Film Festival, is surreal and brilliant.
You know, with the film industry crews, there's an odd mix between a very technical and a very artistic approach to the work, and sometimes as a woman you have to be a little bit careful about how things come out because people don't really want to listen if it's in a certain emotional tone or too strong.
There is this thing in America where actresses reach 40 and go mad. The film industry wants all these young people.
From time to time, there are people in the film industry who appear on the horizon with a unique vision. South African director Neill Blomkamp is one of those rare people.
The film industry is about saying 'no' to people, and inherently you cannot take 'no' for an answer.
Many of my friends are not in the film industry, and I feel like it's healthy. It's not totally by choice. It is, perhaps, people I connect with.
The film industry brings people together, and so does technology. I see them as similar platforms.
People favouring their relatives more than an outsider is what the biggest fight in democracy is, let it be in film industry or politics.
Think about the number of people who do film music, make records and have a Native American heritage - and I may be the only one on the list.
My audiences are generally mixed. Some people like techno, others are into the pop music, and others enjoy my film music.
I started doing Bollywood and film music, and now, it has come to a point where I've started to say no. I want to do my own music. I have been there and done that, so I am not there to achieve that any more. I just want to put my music out there, and if people listen it, okay; if they don't, then fine.
I don't want to be an art-house movie guy, where people who go to film school can discuss your work, but people who haven't studied cinema can't appreciate it. By the same token, I don't want to be the guy who's making this commercial pap that people lap up but that disappears the minute you leave the theater.
I always loved films, and when I decided to go to film school, it was with the excuse that I would go into making commercials, because that would be a proper profession, and people wouldn't think I was crazy.
Being on a film set, you are always around such fantastic people. And I feel like I've been lucky. I feel like I've worked with the best of the best.
I don't feel isolated on a film set. In a way you do because you don't really mix with the outside world; you're just sort of working non-stop for a few months, but you've got so many people around you.
A film set is really delicate and people treat you very very well if you're an actor because they want you to be as comfortable as possible for you to do your work, but it really is just one in a team of many and usually 150 people.
I've been on a lot of film sets, and I've always promised myself I wouldn't create a set where people dread coming to work.
I think I spent my entire childhood on film sets, surrounded by film-makers and actors and people with magnetic energies who make movies.
