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.

Working on the themes I was interested in, through the context of a particular family, was a very economical way of dealing with a lot of the issues I was concerned with.

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.

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 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.

It is about this very abstract sense of displacement that he feels the moment he turns off the television.

That's a very odd notion because it involves seeing money up there on the screen - if something cost $5 million to make, they want to see that $5 million up there.