Sometimes it's about the economic situation and sometimes it's about the fear of others. Sometimes it's about protecting the generally accepted values. If you look at history, history is just a succession of people meeting other people, either through commerce, voyages or wars.

My film is actually very critical of the level of French we're using back home. To have an immigrant from an ancient French colony come and do that is a little critical of our education system back home. Balzac is definitely over their heads. It's meant to be funny also because it would be also probably too much for kids in France, but kids in France would know who Balzac is. But, back home at that age, I guarantee you they don't know who he is.

I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual, and he stops being an individual. I think its the same thing for a country.

Again, something that's very strange and odd, you will find sometimes that immigrants that have been here for many years and already have their citizenship might be the ones against additional immigration. We've seen that also.

In Canada, we have so much land, so much space, and so few people.

I teach myself archaeology, I teach myself Spanish, and that's because it can be fun, it can be useful. So I keep studying. I read books because I still want to study. I don't want to stop.

If you're writing a screenplay from scratch, it involves a lot of creation. In this play, I had a strong main character and it involved some creation around him. That's what I like about adapting that particular play because I added some maneuvering space as a scriptwriter to invent my own things.