I love working with actors. I love to see what they're going to do. There's just something very thrilling and satisfying with being involved with something, all the way through the process [making movie].

In the '80s, I can't say that Amy and I were aware of an independent film community. We could only get a certain amount of money for our pictures, which made them low budget movies, but they were distributed through studios.

I'm being told it saves money to shoot in Toronto, because of tax benefits, the crews are cheaper, but what I save in the bottom line, I lose in a million other ways.

It struck me that working digitally with a small crew, I could lay out a general plan for Famous and hope for mistakes which would create something more than satire and something less than truthful reality.

But I remember feeling as a producer I felt like the guy who called the caterer and got the band; I had to work the party while everybody else was having a good time.

Every time I act in something, I learn something about what the director is doing. One feeds the other.

Although there was a screenplay, the actors never knew what questions I was going to ask them, and all of my character's voice-over narration and scenes were added after the fact.