I wanted to make sure that the environment of the shooting itself was not that controlled, and the way to go about that course was to work with as small a crew as possible.

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 love when people are resilient and when they form ways of dealing with grief or dealing with some traumatic episode, and sometimes those are the wrong choices.

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.

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.

When I was planning Family Viewing, the Ontario Film Development Corporation came into existence.