Coming out of the '60s and the Vietnam War in America, it was commonplace for people to make films that had relevance to them. And since the '70s, cinema has gone almost entirely in the direction of spectacle and escapism and superhero films.

News has become entertainment. Once that happens, a whole series of horrific events start to happen, whether it's the lack of dissemination of something that can inform you or something that actually negatively impacts society.

I reached a point where I'd watched enough directors do the job that I felt I understood it. And it's not that I'm a slow learner and it took me this long; I also was enjoying writing, and I still enjoy writing - I get tremendous satisfaction out of the writing end of it.

When I'm writing, I'm trying to access my subconscious and turn off my conscious brain. I use my conscious for research, but when I'm actually writing, I'm trying to get into a place where I'm tapping into the deeper, darker elements of what's going on.

The toughest challenge I faced came right at the beginning of my career with 'Blood Knot,' which was trying to convince South African audiences that South African stories also had a place on the stage.

I made a really good start to my career, and there was a lot of speculation about where I'd end up going. Like I did then, I'm just trying to take this all in my stride and keep my feet on the ground.

I have a growing resume, but it's because I'm very selective. There are a lot of actors in my position that are like me: they have an opportunity to make a lot of money early in their career, and they do that, and after that, there's nothing to sustain that. There's no art or interest in your craft from the people that want to see you.

I still feel there is more to this Kenny Omega character, and there are more stories I need to tell, and New Japan allows me that freedom. That is a freedom I earned through the hard work I put into the company.