When I was planning Family Viewing, the Ontario Film Development Corporation came into existence.
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.
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.
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.
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.
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.
I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.
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.
I've just been very, very lucky with the film having been introduced in the right way.
It is about this very abstract sense of displacement that he feels the moment he turns off the television.
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.
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.
My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration.