Whatever experimental film aromas cloaked my movies were because I'm a gleefully clumsy, primitive filmmaker. I really like traditional pleasingly narrative films, but I also just couldn't resist throwing in the disruptive. It seems to me that art-house film is at its glorious zenith right now, maybe it can even get better? There's just so many good films, you know Cemetery Of Splendour, Arabian Nights, Miguel Gomes, just so much great work coming out.

Making the ballet really taught me how to get things moving. Ballet dancers don't stand still.

I probably live in the best province for independent filmmakers. Manitoba has a sort of thieving-magpie approach, trying to lift productions from other provinces as well as from other countries. It makes it very hard for me to leave.

If I want to keep making films for a few more years, I probably should be willing to adapt. I've sort of evolved into the filmmaker that I am because of natural selection anyway.

Hollywood isn't exactly dragging me, or even aware of me.

Those are my goals, you know. To be smart, tasteless, and feeling. Something to shoot for.

Shredded feelings are the fuel that feed the machinery of melodrama. And good melodrama just has honest feelings and is honest about the way people interact.