I'm a firm believer in stories with arcs and beginnings and endings and all that. 'Scott Pilgrim' is sort of one long novel, and it's so long that I get confused and sort of tread water sometimes. But there's definitely a goal to it. People who just dismiss it as shallow, that's their prerogative, but it's not really my intent.

Seconds' is grounded in the reality of this restaurant environment, and I did do plenty of research, so there's that. It takes place in a town that is like a kinder, gentler fairy tale version of reality. Then it takes off into a story that is very strange, very mental.

When I was a kid, I desperately wanted more background information on especially cartoonists.

I lived in London for a long time, and that's a pretty white town. In Toronto, I just ended up in this circle of indie rock kids who happened to be white, too... Really, it was just when I started getting out there and meeting more people and seeing more fans that I went, 'Oh, actually, I'm not white.'

The Khmer Rouge can't destroy me. I still have my imagination and am capable of making films. I am not locked up.

I put myself in the place of the listener when editing my writing. The last thing that I want to do is be preached at and told who to be or what to think when listening to an artist. However, I do want to be inspired. There's a fine line.

Honestly, I never felt like I wasn't an artist on my own. I always felt like the music I made was mine, whether it was part of a collaboration with people.

There are two 'Snow White' movies coming out for the same reason that you remember back in the day there was 'Armageddon' and then 'Deep Impact.' You know, 'Andromeda Strain' and then 'Outbreak.' Like, all of those things. It's common because basically studios have no imagination in making the decisions.