I've completed a documentary about the composer Philip Glass. It's taken me back to my documentary roots. I decided the only way to get going on this was simply to buy a camera and start shooting with Philip at home with his family and children, making pizza and talking about writing symphonies. OK, so it's another obsessive pianist. It's been a nice 10-year cycle from Shine (1996) to Glass, if you like.

The interesting thing is I've done all of my post-production back in Australia for all of the American movies, which I really enjoy for personal reasons. But also because it means I can put money into the local industry which has been great... It's part of a little underlying philosophy I have, which is that going to Hollywood is not a one-way ticket, it's a two-way street.

Nothing is ever going to be the same again. Shine (1996) was a unique experience and very few people are ever lucky to feel that degree of universal acceptance. Very seldom can you say that films change people's lives. As far as the world was concerned, this film came out of nowhere, it really sort of barnstormed across the world. It projected me into a new arena and in the process made a star out of Geoffrey Rush, completely changed David Helfgott's life and Lynn Redgrave's career was kick-started again. There were a number of us involved in this film whose lives were never going to be the same again. It was unique, not in the sense of some sort of fluke, just that it was a dark horse.