The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.

The directing process is often a continuation of the writing. This is just a different skill-set.

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.

I think in the '80s, when I started making films, we were all suspicious of these technologies. We were all convinced they would filter out any emotion and sense of intimacy, and the films I made during that period reflected that. In fact, what has happened is the opposite. I think we're saturated with a degree of intimacy we would never have expected, and we're trying to sort through this idea of complete access to each other's lives on an ongoing basis. Our emotions aren't filtered out at all. They're actually accelerated.

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 still staring at TV screens, right? They're still monitors. But the way information is delivered is different. So it creates an interesting way of looking back at early films, because they're actually relevant in terms of the devices people are using. But the consideration, the debate, around those technologies was very different from what's being presented now.

The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.