[on Demolition (2015)] A lot of the stuff was shot like a documentary. We're just observing, capturing, trying not to interfere. Of course were are staging, we have a script and making a fiction film. Here's this sandbox, play in it and we're going to watch you play in it and not try to interfere so it looks real. The goal is not to put style and fancy camera moves and colors above substance, it's all about story, characters, emotion and looking real. We weren't looking for what's the tone is. We went, "Let's try and be real and we'll find it." [2016]

I never knew I was going to make two TV series back to back, Big Little Lies (2017) and Sharp Objects (2017). We're not treating them like TV series, I'm just making another feature film but just longer... [2016]

[on Café de Flore (2011)] I wanted to make something different, and to flirt with a supernatural kind of film. And not make a classic realistic love story. I wanted it to be emotional and be special and be different, so the audience will wonder 'What kind of film am I watching? Is this just a character-driven film. Is this a genre film?' And always balancing one to the other and try to figure out what's going on.

[on directing The Young Victoria (2009)] It was a challenge for me and that's why I wanted to make it. It's so much out of my world. I wasn't attracted by the royal family. But once I had to make a film on them, I became curious to learn about their world and be faithful to what they are. We don't have this in Quebec, and this respect for tradition and rituals.

[on The Young Victoria (2009)] I was never a tough Quebecer who resents the monarchy, I wasn't an Anglo-basher. It's like I didn't care. Now I can say I have respect for the establishment they represent, even though they're born rich and live in palaces.