Every actor has a different temperament. Part of my job is to know what those boundaries are. The actor has to know you'll be there at the other end, that you're trying to represent them in the best light, who they are as they're harnessing these roles. The methods vary from actor to actor.

I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.

The fathers greatest folly is that he believes he can be a much more simple person than he is; he is not really able to deal with his own complexity as a human being.

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.

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.

We're lucky to be making films. My crew and I have been working together for a long time. I think that that's what emanates.

I do think you fall in love when you feel that something of your story is being listened to for the first time, or you feel someone else is hearing it as no one else has ever done.