I have an idea about building almost like a studio for some of the best Tropfest filmmakers, so they can come together and support and be given space and resources they need to tell great stories year around, so it's not just about the festivals. You know, the sky's the limit with this thing, and I'm still making it up as I go along.

The Australian film industry has recognised Tropfest as a place to nurture young talent. It's a stepping stone between amateur and professional.

I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.

I do think Australians as a rule have a very good sensibility to them, and I think most people, if they were given the option, wouldn't choose to rip off a filmmaker or an artist - I don't think its part of the Australian psyche.

I was scouted at the age of 10 by a Hollywood agent. I was a really shy, geeky-looking thing, and started in the industry by doing 'extra' work on films.

Music has always been a big part of Cheech & Chong's career, so it's just natural. You know, I was a musician before I met Cheech and had a record with Motown, and so I've got the cred.

Going back to your country and playing for a big team and being able to enjoy playing La Liga would be a good thing for my career.

I was one of those people who put too much emphasis on work and career and material possessions, and it took its toll on all my relationships, on my physical health, my emotional and mental health.