Patricia Rozema

"You cannot underestimate what a radical thing it is to change from one art form to another. An author slaves to start with just the right word, phrase, sentence, and paragraph. The sounds of the words are crucial. But all the demands of words and prose are lifted when you make a movie. The physical presence makes many unnecessary and some necessary ones impossible. So you serve two masters as an adapting filmmaker: the authors intention and the needs of film. Sometimes "fidelity" can mean only focusing on one day of a story told over twenty years in a book."

"Our voices, our representation of ourselves, have been in the hands of others, namely men, since the beginning of the mediums of film and television. My main character in Ive Heard the Mermaids Singing videotaped a confession that is used through the film. Its her way of having control over her definition of herself."

"I have become post facto a representative of the country. So if you ask, "Is Mermaids a Canadian film?" — it has become one. It has become a means whereby people characterize Canadian film. I think in the creation of Mermaids, I did see it in political terms. I thought of the underdog. Canada is not a superpower by any means. Its very quietly, comfortably democratic, but its plagued by a sense of inferiority."

"I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous. When you change up your pace or your humour level, then the release is welcome. … I believe thats my biggest job: tone control, and maintaining enough unity so that it all feels like one movie and all the scenes belong together, and yet diversity so that emotional and narrative interest is maintained."

"Isnt life the strangest thing youve ever seen?"

"I wanted [Martin] to be a really decent human being because I didnt want to depict the cliché that a woman becomes a lesbian because her husband is terrible to her."