If you are going to do a film about the South Pole, the chances are that you will film it in Hawaii! Whatever is most difficult, you will get to do it.
The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.
In Quebec, we're less inhibited artistically, culturally, politically. We're less focused on box office and comparing our films to the American films.
Whereas European films have traditionally been able to go into adult relationships. I think there's a huge audience in America for those kinds of films.
Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.
Nobody got Punk'd and he was still in his season for that show when we were filming. So the kids were very aware that it was filming and that was his show and they were very much on the lookout for that.
I still think like a critic, and I still analyze films like a critic. However, it's not possible to write criticism if you're making films.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
I'm like most people. We just concentrate on the present. I live right where the film is going through the film projector and it hits the light.
If I wasn't a film-maker, I'd be a film critic. It's the only thing I'd be qualified to do.
I've never looked at film-making as a career. I've looked on film-making as an adventure. When you come down the mountain, you get ready to climb again.
Who says that big-budget films are safer than mid-range films? In terms of return on investment, I'd rather have 'Sling Blade' and 'Shine' than 'Volcano.'
My creative partner is a writer, and he's got an executive producing credit on this film. We've made three films together and I would never underestimate the impact of a writer.
I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.
I think we have the wrong notion of commercial and intellectual or artistic film. Because all films are commercial.
I like to leave a film open-ended, with a lingering feeling. I'll not do sequels of any of my films till I have subjects to explore.
When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.
I've always maintained my name will not define my films, my films will define my name. But I wish I was called Steve, or something else.
I only really watch my own films, I don't watch any other films and I don't particularly like any other actors.
As soon as you're at the higher levels of budgeting, you've got to get the film made, and the only way to support the film is to have actors who can support the budget.
Which is why I felt I was truly blessed this year, with leads in two nice films, and also the luxury of being able to do a studio film and an independent afterwards was fantastic.
