I don't like ostentatious galas and stuff like that, but if you get to the Oscars, you'd better get used to it and you'd better enjoy it.

At the end, what I like is that it's the girl's decision to go back in the room. She needs a hug, she wants a hug, she asks for a hug and he gives it to her. For me, it's like an act of resistance to go there and to transgress the taboo and to do what started the whole thing in the beginning. It was supposedly a hug that started this whole drama between the character of Simon and the teacher.

In Canada, I've had success raising money. I think I was fortunate enough. But today, I would have to write a very, very bad script not to be financed for the next one. I'm assured at least of the next one, but you're always [only] as good as your last film. I think it's true for anyone.

That's grossing money for other people that has a multiplying factor, but the government doesn't see that. It doesn't see that making a film or culture or art is part of our economy. But the main reason is this, it's part of our identity. I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual and he's stops being an individual.

The first person to make me realize there was someone behind the film was Steven Spielberg.

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.

For sure, and we haven't found it yet. I understand why we have come to a time and place where we cannot touch the children at school for obvious reasons. I'm not that old, but back then some teacher would take our arm and squeeze it, and it was not fun.