I guess to the outside observer, all my movies look like musty old black-and-white artifacts, but my earlier movies had been more static and tableaux-ish.

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.

Some Jungian or Freudian would tell me I'm just trying to go back to the womb... at gunpoint, if necessary.

I think I've indulged in a pathological, chronic nostalgia over the years, which I've traced back to my childhood. I was the last of four children, born well after the other three, so I was left on my own in a big, quiet house where most of the people had left, and even the echoes of a happy family had all died out.

If I hope to survive, I have to acknowledge the natural selection that goes on when film stocks and cameras are eliminated from the world. And film viewers won't want to watch the same thing over and over again from me.

I define melodrama as truth uninhibited. It's the kind of truth we dream about. Rather than melodrama being exaggerated, it's actually uninhibited. And it's a big difference - people look down on exaggerations, but I think they should look up to the un-inhibitions.

I literally designed and built the sets myself, and I kind of liked it. I always gave myself eight weeks to do that - sometimes even 10 - and the shooting took five or six weeks.