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.

Any place where you have to deal with many social actors like a school - you have the parents, the Ministry of Education, the school board, and the teachers - you need all kinds of sets and rules. You're trying to foresee anything that can happen and everything becomes really rigid. They don't want to talk about death because they don't want to overwhelm the children, but that has already happened, so you're not going to overwhelm them more.

I think it's the same thing for a country. We are lucky then that we can get some financing from the government, because it means when I get the money, when I get the grant to do the film, of course it's based on the script, but I have total artistic control and I can do personal stuff.

There is some humor in Monsieur Lazhar and in all my other films, but this one I'll try to make a real comedy from start to finish. It's called Prescott Etc. because the name of the constituency is so long that everybody in the constituency just says Prescott Etc. I don't know if that's what it will be. It's a working title.

The notion, the invention of a country, is fairly new in the history of mankind. We tend to forget that. We want to protect our country. The country is something that's fairly new. It's 250 years old, maybe 300 years old, so it's bound to change and evolve also. Migration is part of that.

It's cool that we got rid of that, but we got rid of everything - the encouraging pat on the back or even a hug which I find can be acceptable in some situations. I know that it's a sensible subject and that we're trying to avoid nasty things, but [you can] have as many rules as you want, there will still be stuff happening anyway.

We also have this reflex of using specialists for everything, instead of having the person who is there every day with them, the teacher, talk about death and suicide. In the film, it's portrayed a little bit like a caricature, but it's the psychologist who comes in and Monsieur Lazhar does not think it's a good idea. He thinks he should be the one who should talk about that with the children.