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.

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 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.

Try to produce your own films, avoid directing for hire.

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.

I believe my signal of maturity as a filmmaker iswhen I'll actually acknowledge the fact that the first take is usuallythe best.

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.