60 Quotes by Philippe Falardeau

It's the same challenge as with any other character, adults or not. You want to take time with the kids. You want to tell them in the audition that they have time to exchange ideas. I'm there. It's not someone else who does the audition, but I don't want to audition a thousand children.

At the end, what I like is that it's the girl's decision to go back in the room. She needs a hug, she wants a hug, she asks for a hug and he gives it to her. For me, it's like an act of resistance to go there and to transgress the taboo and to do what started the whole thing in the beginning. It was supposedly a hug that started this whole drama between the character of Simon and the teacher.

It's cool that we got rid of that, but we got rid of everything - the encouraging pat on the back or even a hug which I find can be acceptable in some situations. I know that it's a sensible subject and that we're trying to avoid nasty things, but [you can] have as many rules as you want, there will still be stuff happening anyway.

I teach myself archaeology, I teach myself Spanish, and that's because it can be fun, it can be useful. So I keep studying. I read books because I still want to study. I don't want to stop.

If you're writing a screenplay from scratch, it involves a lot of creation.

I think cinema is the memory and the imagination of the country. Take the memory and imagination out of an individual, and he stops being an individual. I think it's the same thing for a country.