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.

The whole film is about people being convinced that they can reduce themselves to their archetypes.

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.

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.

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

I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.

I've just been very, very lucky with the film having been introduced in the right way.

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.

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.

I suppose I had these concerns but I really felt that I had to keep my scope very, very concentrated.

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.

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 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.

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 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

My parents taught me to believe that through the creative act, we're able to transcend and give a response to desecration.

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.

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.

It is about this very abstract sense of displacement that he feels the moment he turns off the television.

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.

Young actors often don't think of the consequences of doing nudity or sex scenes. They want the role so badly that they agree to be exploited, and then end up embarrassing family, friends, and even strangers.

On the road to equality there is no better place for blacks to detour around American values than in forgoing its example in the treatment of its women and the organization of its family.

We're parents first, and once you have kids, everybody knows that you have priority lists. Number one is your family and everything else just kind of finds its place.

I have a project at HBO and one at the Family Channel coming that are being looked at. Aside from that I am not doing much more than playing golf and some skiing.

I didn't tell anybody about my plan because I was convinced my family or friends would stop me. I didn't think much about what would happen afterwards.

You know raising a family in the lifestyle of a professional athlete can be very difficult.

I love to see my family together. That's what life is about. It's about family.

Like religion, politics, and family planning, cereal is not a topic to be brought up in public. It's too controversial.

It was an idea we had when Al was in the Senate - to organize and moderate an annual conference that would look at government policy through the lens of the family to help identify ways that the family can be supported and strengthened.

Even though we were all celebrities to a certain extent, we all looked at each other as family.

The steady expansion of welfare programs can be taken as a measure of the steady disintegration of the Negro family structure over the past generation in the United States.

A growing awareness of the depth of popular attachment to the family has led some liberals to concede that family is not just a buzzword for reaction.

I love my family.

I have other obligations now - the show, my family, my life... though I know that without my sobriety I wouldn't have any of those things.

When they were small and my wife really had no other responsibilities, except taking care of the family and all of us, it wasn't that big a deal. It was fun. Hey, we're going to Moscow. We're going to Italy. We're going to Toronto. We're going to New York.

I miss my family, and I like being a tourist when I go back.

I'm not in the business of becoming famous. And that's the advice I give to younger aspiring actors. Work onstage and do the little roles. In the end it's not important to be seen. It's important to do. There's a lot of disappointment in this business, but my family keeps me grounded.