We're lucky to be making films. My crew and I have been working together for a long time. I think that that's what emanates.

Sometimes you think you want to know something, but it's actually more exciting and more resonant when you have to try [and figure it out].

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.

I’m Armenian, and April 24th was another commemoration of the genocide of Armenia people by Turkey. The perpetrator never admitted the crime. I was raised with that, this question: how do you actually find the truth of such a traumatic event? I'm obsessed with that issue.

I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.

I started in theater and I wanted to write plays, but I never really found an original voice as a playwright.

It is about this very abstract sense of displacement that he feels the moment he turns off the television.