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The most dangerous thing is a bored teenager. They have the stigma of being Indigenous, Aboriginal, and all the trappings that come with it. The connection does come a lot more from those kids, desert or not. They're stepping out into the world.
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I was looking for an opportunity to make my first feature, so I asked myself: "What do you want to do? Is there something you can give to the world?"
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In most of my films I write the music into the script. I'm listening to songs and lyrics that empower the themes of the film. There's a lot of Indigenous music that has not been heard widely and I love the idea of giving that music to the rest of the world.
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When you're in other people's country you don't speak your own language out of respect. You don't need to speak.
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You live with someone until they accept that you are what you are, that you're not going to change and they love that about you – and then they decide to marry you, I guess.
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I come from a place where you don't need to talk all the time. There are sign languages you learn.
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Urban artist have to face the stigma not only from white Australia but black Australia too; that's horrific when people say that their art isn't "Aboriginal" if it doesn't have dots or lines or moieties in it.
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You don't actually have to understand the song to be emotionally moved and uplifted, whereas with language it becomes quirky and analytical.