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

No one ever gets to see Foley artists at work, and they're so strange. They see the world differently: things as things that might make sounds that sound like other things. They see the whole world that way - like when you're a house painter, all you see is a bunch of houses that need painting.

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

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.

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.

I started making movies in my late 20s, that time in an artist's career that often sees artists just imitating things that he or she loves. I just wanted to be great like L'Age d'Or vintage Buñuel. I wanted to be Busby Berkeley, for crying out loud! I wanted to have chorus girls stomping their heels in my casting office. I wanted to be Erich Von Stroheim monogramming underwear for extras. So I started off my career doing that, and that was fun, but I realised I wasn't very good at it.

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.