The Face of Time - POV - Aarhus Universitet

A Danish Journal of Film Studies 105
that it's about female subjectivity and an interest in stories about
women that haven't been told... If you turned the Kitchen Sink story
around and made the main character a man – like the Pygmalion
story, falling in love with a statue that he created, that kind of classic
story – you wouldn't think it was a male story, you'd think it was a
kind of mythical, universal story. It's funny that Kitchen Sink is
called feminist, when it's just that the gender is the other way
around.
Can you tell me a little bit about what you've been doing since 1989?
Well, I made Crush in 1992-1993 in New Zealand, which is the only
feature I've made. That was something I had spent two or two and a
half years writing, with another woman, Anne Kennedy, but largely
alone. By that stage, I had already moved to Sydney and I just came
back to make that film. Only about a year after that film was fin-
ished, I decided to move to New York. I came over here because I
had some opportunities. I actually had a development deal for a
while with Touchstone Pictures and was developing a script with
them – which didn't work out, but that brought me over here and I
ended up staying. Since I've been here, I've really concentrated on
writing. I can't believe that I've done it, but I've written close to three
feature scripts, and if someone had told me that I was going to do
that before I got a chance to make another film, I would have felt
like giving up. I've spent most of the last four or five years writing
these scripts and trying to set them up, and for one reason or
another being quite frustrated in that. Two films that I thought were
almost certain to happen, haven't happened and are quite stopped
for a variety of reasons. It just seems to be the nature of the business