It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.

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.

My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration.

I wanted to make sure that the environment of the shooting itself was not that controlled, and the way to go about that course was to work with as small a crew as possible.

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 started in theater and I wanted to write plays, but I never really found an original voice as a playwright.

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