I kind of feel like with a musical, there's so few original musicals that people just don't know what to expect.

So many Hollywood adaptations of really popular manga series just don't get it right, and for me what was really important was that if I was gonna do 'Naruto,' I wanted to actually work with Kishimoto and get a script to a stage where he would look at it and be excited about realizing it.

There is something about musical narrative and Australians. If you want to do something, you kind of have to do it at a level - because we're so far away from everywhere else - that exceeds what is just normal if you want to convince people that some guy from Australia is worth backing for an original musical.

I'm a big believer in bringing in other creative minds; I do it in my commercial work.

I was introduced to Zendaya by one of the executives at Fox, and like every single person who's met her, you completely fall in love with her talent and her maturity.

The rehearsal process is the biggest gift you can give to the director and to yourself as an actor because it allows you to shape the character and the scenes.

Like 'Lost in Translation,' I worked on an advertisement where a Hollywood star was doing a commercial just for Japan. The star was Hugh Jackman. Since I'm Australian, they just assumed I knew him, and I didn't correct them.

Classically, it's the child who looks up at their parents who says, 'This is how the future is going to be,' and it's the parents who don't understand because they're set in their ways. For me, it was the exact opposite.

It's really strange, this thing where people are like, 'I'm not into musicals' but so many people who have said that to me, I've taken to shows and watched their faces radiate.