“There are certain artists and filmmakers who, I get the impression, are trying to show off how bad their characters can be, how immoral their characters can be.”

There were points at which I was trying to use my art to reflect positively on myself, to almost be flirtatious through the work.

That partially due to the world of media and commerce, the idea of a comic book has been lost in the ghetto.

But not the kind of comics that they were used to, and no, it’s not pornography, etc.

Look, there’s no denying that comics have moved dramatically into the mainstream in North American culture in the last 10 years.

I never go home and take out those business cards and go to those websites.

But if there was a mini-comic here in my hand, I’d read it while I ate my lunch.

I wanted to avoid doing what I thought people wanted me to do.

The idea of trying to make the effort to produce something, to put something out into the world, rather than just taking in all the stuff the world’s putting out at you.

I do think it’s getting more and more rare in this country to raise a kid with the attitude that creativity is something valuable.

And I do think it’s sort of too bad that what once was a safe haven for truly eccentric, outsider artists is no longer that thing.

Just in terms of being able to be a professional artist, but also it’s nice to not have to dread introductions.

I think there’s a lot of evolution that’s happened in intangible ways, in terms of how I think about the work or how I plan it out.

Either thought balloons or narrations or some sort of showy action, then those thoughts and realizations never existed.

There’s been a lot of progress recently. And I shouldn’t make a definitive statement about this.

The experience of reading a comic should not be the time it takes to turn each page.

When email and the Internet came along, I never publish an email address. I just stuck with this P.O. Box address.

A viewer as opposed to a filmmaker might see a film differently. But I’m extremely comfortable with my style.

The story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I’m struggling with.

I believe that it is this quality that draws people to come and see a film, and that it is the hope of attaining this quality that inspires the filmmaker to make his film in the first place.

I don’t try to make a place in history at all! People put me in the history of cinema because my first film, La pointe-courte, was so ahead of some other filmmakers.

When I started I did not know I wanted to be a filmmaker. I started – I made a film. Then when I finished I said, Oh my god it’s so beautiful – I should be a filmmaker!

Many filmmakers have made resurgent work, and I was just a little ahead of the time.

I’m a filmmaker, I’m a storyteller, an entertainer, if you will, so what can I do to participate?

I’m pretty committed to being a filmmaker because it incorporates everything I love: music, art direction, story, and you know – everything.