When I Was Planning Family Viewing, The

There Is A Certain Moment In The Film When The Son Is In The Nursing Home And He Goes To The Television And Turns It Off Because He Sees Himself In The Image.

You Can Talk About Holocaust Denial, But It's Really Marginal For The Most Part. What Is Compelling About The Armenian Genocide, Is How It Has Been Forgotten.

I Think In The '80s, When I Started Making Films, We Were All Suspicious Of These Technologies. We Were All Convinced They Would Filter Out Any Emotion And Sense Of Intimacy, And The Films I Made During That Period Reflected That. In Fact, What Has Happened Is The Opposite. I Think We're Saturated With A Degree Of Intimacy We Would Never Have Expected, And We're Trying To Sort Through This Idea Of Complete Access To Each Other's Lives On An Ongoing Basis. Our Emotions Aren't Filtered Out At All. They're Actually Accelerated.

As A Producer, I Think One Of The Most Important Decisions You Make Is Not Necessarily The Material You Are Working On But The Production Apparatus That You Choose To Develop The Project With, And That Determines What Funding You Go To, It Determines Many Factors.

My Parents Taught Me To Believe That Through The Creative Act, We're Able To Transcend And Give A Response To Desecration.