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.

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.

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.

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 a romantic view of Canada. It's like Michael Moore saying we don't lock our doors in Canada. I lock my door mainly because my girlfriend wants me to lock the door, but mind you we lock our doors. It is a little simplistic to say that we blend easily back home with other cultures. It's difficult, but I think it's mainly a big city phenomenon.

I'm pretty optimistic that in the future these kind of films will also be part of the main categories, perhaps not in a foreign language, but certainly more socially and politically engaged films, or films that will happen where the story takes place outside the United States.

One particular night I was at the theater. I was not scouting for a project, but I was touched by this play by Évelyne de la Chenelière. I was touched by the character. I thought it was a rich character that could be rich enough for a movie.