With memories revolving around the family's cottage near Lake Simcoe, Glenn Gould recalls how in his childhood, he had ostensibly made the decision to become a concert pianist at age five.

Gould later imagines interviewing himself, in which he confronts himself about why he chose to quit giving concerts at the age of 32, preferring to communicate to his audience through media instead.

In crafting radio documentaries, Gould works on a piece called The Idea of North, which touches on the effects the environment has on the solitude and isolation of the people of Northern Canada.

In a media interview, Gould reveals that The Idea of North is one of only five of his documentaries about isolation, and that he intends to make a comedy next because he is tired of serious expression.

Interviewers also push him to explain how he could achieve his level of musical perfection without interest in being overly technical in his piano playing.

As the markets plummet, Gould picks up word from the bodyguard of the visiting Sheik Yamani to invest in an obscure company called Sotex Resources, which is set to benefit from an exploration contract.

However, Margaret Pacsu, a friend, notices Gould's bathroom is stocked heavily with various pills, including Valium, Trifluoperazine and Librax.

As his birthday approaches, Gould becomes concerned that no one will attend his funeral, despite being aware of strong record sales in Central Europe and Japan.

[1] After Gould died in 1982, director François Girard mentioned the idea of making a biopic of the pianist in 1990, reviving Fichman's plans.

[1] Girard found writing challenging, saying, "As Gould was such a complex character, the biggest problem was to find a way to look at his work and deal with his visions.

[4] Actor Colm Feore watched available video and listened to sound recordings of Gould in order to develop his performance.

[4] Girard took the first shots in Hamburg in August 1992, while Gould's genuine Steinway grand piano was moved to a church in Toronto for principal photography.

[16] Roger Ebert awarded the film four stars, praising it for parting with the customary biopic format and challenging viewers to imagine themselves as Gould.

[20] The New Republic critic Stanley Kauffmann said it offered "teasing yet satisfactory glimpses- vivid, funny, cranky, passionate, eremitic, humane".