| I mean, if you are directing actors to do one thing and then directing them to do something else entirely because the one thing you wanted them to do may not work, then you are just shattering their confidence in the project.
| Once we were in the studio, we realized we were getting certain effects through the shooting of the dramatic scenes on video, shooting off a screen and then getting wave patterns and stuff like that.
| It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.
| My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration.
| That's a very odd notion because it involves seeing money up there on the screen - if something cost $5 million to make, they want to see that $5 million up there.
| 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.
| When you make a film like this, you must have the highest expectations of your audience. Having worked in situations where we have the lowest expectations of our audience.
| The programme has ended, something has finished, and he has a sense of something having finished its course, and then all of a sudden he turns away and this other thing has just finished its course, this other person.
| 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.
| When you're working with a smaller budget I suppose one of the things that has to be in your mind when you are writing is that you have to keep the characters down to a minimum.
| 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.
| These are very subtle things, of course, and I don't expect everyone to pick them up consciously, but I think that there is something there that you must be able to feel, there is an energy at work that I must trust my audience will be able to pick up at some level.
| That is where the irony of the film comes off, in terms of the language it employs - where he tries desperately to be a 'TV Dad,' to give advice and it's so pat it becomes ridiculous.
| I suppose I had these concerns but I really felt that I had to keep my scope very, very concentrated.
| 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.
| The whole film is about people being convinced that they can reduce themselves to their archetypes.
| I've just been very, very lucky with the film having been introduced in the right way.
| I have always felt that this story is universal. When I began to understand the details of the history, I felt that the most compelling aspect was not what happened, but what continues to happen and how it is denied.
| These sorts of things can happen, identities can be switched, the emotional implications are something that he has not been trained to feel. His whole life has been about separating himself from these sorts of actions.
| You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.