A Quote by Rachel Griffiths

I'm developing some screenplays at the moment with my Australian producer. — © Rachel Griffiths
I'm developing some screenplays at the moment with my Australian producer.
A producer friend of mine from film school had read some of my early screenplays - some experiments I had done to see how fast I could write something.
I think there is a kind of laconic Australian leg-pulling sense of humor that is certainly in some of my stories, or is an element in some of my books, and that's probably a direct result of where I've grown up. But other than that I don't draw particularly on the Australian landscape or the Australian biology and so on. So I don't think there's anything you could point to and say is particularly Australian.
Earlier in my career, I needed to be the writer, casting director, set designer, leading man, and producer. I've been eliminating a lot of those jobs. I'm an executive producer right now. I still get to pick the best screenplays.
Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.
Well, I'm half Australian, half English and I live in London. That is the only reason I came upon this story. My Australian mother, Meredith Hooper, was invited in late 2007 by some Australian friends to make up a token Australian audience in a tiny fringe theater play reading of an unproduced, unrehearsed play called 'The King's Speech.'
I see it as my duty in some way is to be out in the world as an Australian putting forward what I consider to be authentic Australian music.
I'm quite spontaneous in my decisions often. Your career is kind of what happens whilst you're busy developing other screenplays, and so it came out of the blue.
It's very hard to make a living as a producer these days. The reality of the business is the studios have cut way back on overall deals for producers and cut way back on development. The fee for developing a project has not changed for 20 years, and a producer can't live on it.
In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.
My approach to making movies is different than other people, because I just write a lot of screenplays. I'm constantly writing screenplays.
I have completed and uncompleted screenplays, but they both fall into the category of “unsold.” I've seen quite a few movies where the screenplays seemed to be in the “uncompleted” category yet still got sold and made into movies, so I generally refer too all screenplays as “sold” or “unsold.” But that's just my own filing system.
But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.
There is a very special place in the Australian psyche for sport. It is one of the pillars of the Australian way of life. You don't really understand what makes the Australian nation tick unless you understand the great affection Australians have for sport.
My agent said the part was that of an eccentric old grandfather-come-professor type who travels in space and time. Well, I wasn't that keen, but I agreed to meet the producer. Then, the moment this brilliant young producer, Verity Lambert, started telling me about 'Doctor Who,' l was hooked.
'Australian Rules' was my moment of truth.
Well, you just know, as a writer, I didn't really write one of the five best screenplays of the year. There were lots of brilliant screenplays; I was just one of the lucky ones who got nominated.
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