I think ultimately if you have a very high expectation of your audience and you know exactly what it is you're trying to express through the medium of film, there will always be an audience for you.

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.

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.

People make decisions that may have one intent and yet are somehow perverted into something else. And sometimes it's because of design. Sometimes it's because of happenstance. But very often, it's mysterious to them.

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.

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.

The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.