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.
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.
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.
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.
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 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.
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.
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.
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.
