I feel like it's my responsibility to honestly cover a lot of subjects in part because I have two little girls and I really want them when they grow up to have a voice.
That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.
I've learnt that you tend most to make a div of yourself when you're trying to cover up the fact that you don't know what you're doing. And that simply saying 'I don't know what I'm doing' is a massive relief.
At 15 I auditioned for 42nd Street in Australia. Dein Perry was in that show. I actually got the job but I couldn't do it because I was only 15. Legally I needed to have another 15-year-old to cover consecutive nights.
I've always been a secret locked-room fanatic. I read my first one when I was about ten or 11, Agatha Christie's 'Murder on the Orient Express,' with David Niven and Peter Ustinov on the cover.