I always feel that crime films are about capitalism because it is a genre where it is perfectly acceptable for all the characters to be motivated by the desire for money. In some ways, the crime film is the most honest American film because it portrays Americans as I experience a lot of them, in Hollywood, as being very concerned with money.
For the most part, the American film market has become very corporatised, even independent film to a degree, and because of the corporate management mentality, they want to take the safe way.
I graduated from the American Film Institute in 2010, where I studied as a director, and came out with a few features I really wanted to make.
I wouldn't mind being in an American film for a laugh, but I certainly don't want to be in Thingy Blah Blah 3, if you know what I mean.
I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.
I started watching so many different types of women, saw all the complexities of them, all the ways and the look and shapes they could be, and I felt it was missing for me in American film. I didn't see anybody I was watching in movies that felt like me. I felt rather tortured and lonely about it.
I'm just interested in all of the different ways that a woman can be. We don't have enough, when it comes to American film, that shows all of the different complexities and ways that a woman is interesting and mysterious and dynamic and really complicated.
The future of American film lies on television.
American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.
I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.
