Sometimes you think you want to know something, but it's actually more exciting and more resonant when you have to try [and figure it out].

I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.

Though I am still very vulnerable to audiences—and it happens all the time - where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.

There is a certain moment in the film when the son is in the nursing home and he goes to the television and turns it off because he sees himself in the image.

It was very important that it be done in such a way that it be executed with complete conviction. If I had done it both ways, if I was trying to cover myself in case it didn't work, then it would have been to no purpose.

I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.