John Hillcoat

I am very keen to do a film that's female-led.

My own personal aesthetic is all to do with real actors and real locations and a kind of almost hyper reality and actuality to things. But the digital world, I explore that through other mediums, with music videos and commercials. Even 'The Road' was a real learning curve for me with digital effects.

I take very seriously that challenge of trying to do genre films - but elevated genre films.

When you're working with an ensemble, I think you really need different energies because you don't have much time with each character to make them feel real. You want strong personalities that are very different.

In Australia in the '70s, there was a real embrace of different genres. And then George Miller did 'Mad Max' by the end of the '70s, the beginning of the '80s. And it was really thriving.

Everyone has a family, even if they're at war or fallen apart. It's the closest initial bond, and there's a sort of primal element to that. Your primary relationships are formed out of family.

Bands are actively seeking more film involvement - because the days of recording albums and MTV and even touring, to some extent, are gone.

What was so amazing and inspiring about 'GoodFellas' was that it showed the foot soldiers; the people more at the bottom as opposed to focusing on the godfathers and the guys at the top.

Basically, I frittered away the Nineties making pop videos and being pretty self-indulgent.

The Globes are voted for by anyone in L.A. who's ever written for a foreign newspaper or magazine. That means, like, Romanian cookery writers.

The Road' reminds me of Steinbeck's 'The Grapes of Wrath.'

When you have a major movie star, and then they're surrounded by local extras, it takes me out or makes me more conscious of what's going on, as opposed to losing myself in the movie.