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.

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.

I do think you fall in love when you feel that something of your story is being listened to for the first time, or you feel someone else is hearing it as no one else has ever done.

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'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.

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

I believe my signal of maturity as a filmmaker iswhen I'll actually acknowledge the fact that the first take is usuallythe best.