Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.

I mean, if you are directing actors to do one thing and then directing them to do something else entirely because the one thing you wanted them to do may not work, then you are just shattering their confidence in the project.

One of the huge advantages of shooting in the winter is that locations that wouldn't have been available to us suddenly were, like Yorkville. ... It's just specific streets and specific angles. I think that's what's always kind of shocking about some cities: they are really about intersections.

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 entire social groups are formed through technologies that could never exist in the real world, and relationships that are a function of these technologies' ability to accelerate feeling and emotional contact.

When I was planning Family Viewing, the Ontario Film Development Corporation came into existence.

Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.