I was interested in immigration and I wanted to use that in the film, not necessarily to talk about immigrants, although I wanted to do that, but to talk about ourselves through the eyes of an immigrant. The film takes place in the school and it tells us a little bit about who we are and where we're at, but through the eyes of someone who has a different background.

If you read Herodotus, the first Greek historian 2,500 years ago, he was talking about that - about people mixing with other people. Sometimes it produces great societies. Sometimes it triggers war. But, we're not going to change that. I don't think so. We're living in nations that are state nations and countries.

I'm writing a political comedy that takes place in Canada in Quebec. It's funny. Saying political comedy is a little redundant but it's a first. I've never done any comedy per se.

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.

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 needed to create some dramatic tension to sustain the interest of the audience. For instance, the boy in the film is not in the play, so this relationship that he had with the former teacher, and his guilt, this is not at all in the play. I thought it would be interesting to look at in the film, and I added stuff like that around the main character. For me, it was not more difficult or less difficult.

The irony is I did an intimate film in France with no stars and that got me to Hollywood. It got me to the Oscars. If I had tried to imitate the Americans or the Hollywood movies with a commercial recipe, I'd never have gotten to Hollywood. Although, it was not my goal in any way, and I never thought there was any connection between Monsieur Lazhar and the Oscars.