I love the idea of real-life experiences finding their way into fiction. I think that's really cool.

Part of me wonders what it would have been like to have had my first experience of India in a normal way, rather than through the eyes of a film.

I don't necessarily see myself as an experienced filmmaker just because I've been in a few movies.

I think, often with Australian films, if an Australian film has been given the seal of approval by an offshore festival or an offshore release, then it does mean a lot to a local audience.

'Animal Kingdom' feels like a suburban Melbourne version of 'The Godfather 'to me. It's epic and Shakespearean in its story, and yet you still feel like you can reach out and touch it.

There's definitely a fascination with crime stories and stories of characters acting out against authority.

I wanted to make a movie that was kind of a tribute to the way I feel when I watch a John Hughes movie.

I don't want at the end of my life to look back at just a bunch of fictional movies I was involved in that kept taking me away from the real world.

I can't sing or dance.

Every job leaves its residue, a bit of extra knowledge, a new skill-set.

Sometimes, the smaller roles in movies can be the most interesting. If you only take the stance that you'll only play central characters in movies, you'll find yourself not being able to indulge in that morally grey terrain that makes support characters so rich and interesting.

I'm a pacifist.

To act with a tennis ball and imagine it's a tentacle, or if you're in some kind of wilderness film and you go, 'Okay, we can't have a grizzly bear here, but imagine when you step over the rock there there's a grizzly bear.' I don't know. They're tough moments.

I'm on the list that I thought I'd never be on. I'm not sitting here thinking, 'God, I might get this part' or 'is it too late for me to play Hamlet?' It's really about: who do I get to work with? There's so many people on that list.

I remember my brother Nash had just directed me in 'The Square,' and I was sitting in Australia going: 'No one's called me about working for ages. I don't know if I'm ever going to get another job.'

I tend to take on a lot of things. And then they all just seem to happen at once. Or maybe I'm not good at saying 'No'. But the juggling's fun.

The tricky thing becomes: Do you know yourself well enough to then portray that on screen? And for me, I find that really hard. I'd rather hide behind accents and funny walks.

I always kind of aim with the action stuff to make it feel like, as an audience member, you're experiencing what the people are experiencing. As soon as you go into slow-mo or repeated edits, shooting it like it's a stunt, it takes it out of that reality. The more real you make that stuff, the more tense it will be.

Really, no-one is bad except for serial killers and dictators.

That's one of the great privileges, being an actor, is that someone pays you and sends you off to learn about something that otherwise you'd never know about.

It feels good to be fit and strong.

The sum total of all my stop-starts have made me less concerned about the future. I'm just aware now that I'll always land on my feet somehow.

The first video I ever watched was on a Beta system because everyone thought Beta was the way but then it ended up being video so we backed the wrong horse.

I blame my work for a lot of things. I thank my work for a lot of things, too, but the trouble with being so passionately involved in work is that it becomes like a lover, like your partner, because it nourishes you.