I just respect audiences to understand that that's what goes on in movies. I just try to make movies that respect the intelligence of the audience. Respect that they understand that the narrator is always unreliable and respect that they understand that the medium can do whatever it wants.

I'm a nervous wreck. If it's a 20-day shoot, at lunchtime on the first day, I'm thinking "Only 19 and a half days to go... I can make it!"

The bone-breaking thing is something that I put in many narratives.

I've been so lazy all my life. I used to literally lie on the couch, up until the age of 35, fearing that my bones were dissolving like sugar cubes, from disuse.

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.

Well, I had a wolverine. It was supposed to be a cat, but Jason (Patric) is allergic to cats. I can't remember where I got it. Some back alley taxidermy, maybe? But I think I got it at The Bay taxidermy department. Downtown Winnipeg. Next to the tumbleweeds.

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.