I made 'Enemy' to prep myself for 'Prisoners.' I had the need to direct something smaller in English before going to Hollywood. That's the way I sold it to Warner because they asked me if I was berserk to make a movie right before.
I'm very sensitive about the fact that there's not a lot of good work for women in cinema that also deals with strong characters. But 'strong character' doesn't mean 'masculine character' - but something that finds the strength in femininity and the beauty in femininity. And something that says you can find femininity in men in some way.
In Quebec, as women were getting more power, there were the men who agreed with that and the men who were afraid. I think most men are willing to share power with women, but there's fear. Every time you change something, there's a friction.
Film is pop art. It's not whether it's auteur cinema or not; that's a false distinction. Cinema is cinema.
In Canada, for boys, your identity is built on hockey. It's your social position; it's everything. And I was the worst hockey player of Canada.
I love, in movies, when you feel and you understand the past of the character without it being said or having a flashback or something that explains. I think, in 'Prisoners,' we need to understand that Loki's character's past was not first class. He was not the first in his class.
