For some reason, I seem to work well with actors. I love working with them.

Refreshing honesty has been getting me in trouble since I was five, but it's probably had some positive effects - like not being a liar.

You just have to know what you want and what you're doing and it leads to a kind of general well-being, which I think you sensed when you were there.

When I was very young, you would get the TV listings from The Globe and The Herald, and you would basically go through them, circle things, and map out your viewing week.

There's always a great hue and cry when you sign onto a "remake," and that's always been sort of annoying me and freaking me out. This profession that we're in is drama. What drama has been since the beginning is, you restage plays with new casts, or a writer will take a new run at an old story.

All of a sudden I pulled up short and harked back to Ridley [Scott] holding up the script in Manhattan, at the St. Regis breakfast room, and saying, "It's very visual, isn't it," and realized it was the key to my whole life since then.

I didn't have anything to do with selecting IFC. I don't have anything to do with distribution, or business, or marketing, but think it's a good choice by Graham, and perfect for London Boulevard. It gets the picture straight into a dialog with the public, and it doesn't set the sights too high. They're very hip at IFC, and they get the film. The cineplex hasn't done film any favors as an art form.