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 lucky to be making films. My crew and I have been working together for a long time. I think that that's what emanates.

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

Sometimes you think you want to know something, but it's actually more exciting and more resonant when you have to try [and figure it out].

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

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.