You have to be able to deploy the themes that you want to address with a minimum of means, otherwise you aren't going to be able to get it made.
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.
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.
Working on the themes I was interested in, through the context of a particular family, was a very economical way of dealing with a lot of the issues I was concerned with.
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.
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.
When we first shot it, something very, very weird happened, and it's a good example of how things work intuitively or are improvised.
When I was planning Family Viewing, the Ontario Film Development Corporation came into existence.
Though I am still very vulnerable to audiences - and it happens all the time - where for some reason the energy doesn't connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.
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.
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.
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.
The whole film is about people being convinced that they can reduce themselves to their archetypes.
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 father's greatest folly is that he believes he can be a much more simple person than he is he is not really able to deal with his own complexity as a human being.
The biggest problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.
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.
Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.
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.
My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration.
My exposure to mainstream forms of production has taught me what I am up against and actually clarified for me where I'd like to go.
It's not as though I'm working in some sort of vacuum, I do know exactly what my options are and it is a creative choice to go one way or the other.
It was very important that it be done in such a way that it be executed with complete conviction. If I had done it both ways, if I was trying to cover myself in case it didn't work, then it would have been to no purpose.
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.
I've just been very, very lucky with the film having been introduced in the right way.