||My first film, Next of Kin (1984), was made 15 years ago for $ 20.000, my second [ Family Viewing (1987)] for $ 100.000 and then Speaking Parts (1989) was $ 500.000. I was never aware of commercial considerations, and each film found enough of an audience to justify its budget. I'm more aware of those things now... [Nov.1998]
||[on Exotica (1994)] To me, the obvious definition of the exotic is something outside our immediate experience. But ultimately, what really drives the film is the exoticism that we feel towards our own experience, that point at which our own memory, and our own relationship to the things that are closest to us become exotic.
||[on Remember (2015)] What I respond to - as a grandchild of survivors of a genocide that hasn't been recognized - I can really respond to that feeling of rage. It's something that is still living for these people. Max will not get satisfaction. For him it's still about the magnitude of that loss. We cannot allow ourselves to become inured or callused to horror, to the ability of people to abstract other human beings if sanctioned by the State. We were telling this story at a time when we still have survivors and perpetrators in our midst, and we were very aware of that. 
||I started my career, thankfully maybe, with a first feature that I'm really proud of, that got some really dismissive reviews at the time. I realized I had to have a really thick skin if I wanted to pursue this. You can't be vulnerable. It's just the nature of it. 
||There have been reviews that have profoundly affected me, because someone so deeply connected to the film. Those are so gratifying. 
||I'm just really grateful I had this career to make these films. Whether or not particular films connect, I'm proud of the body of work that I've done. 
||Sometimes you get the opportunity to make a film that actually is touching or explores a part of history that is uncharted. With Ararat (2002), the transmission of trauma reverberates through four generations. How the pain of that is, and the echoes are, felt 100 years later. 
||I started in theater and I wanted to write plays, but I never really found an original voice as a playwright. I still write plays. I still do theater and opera, but the moment I started making films, which I have to say I started in college because the college dramatic society turned down one of my plays, and out of spite, I went to the film club and said, "Okay, I'll make it as a movie." But the moment I held that camera, it just felt like "Oh, this is another character. This is someone watching the drama." It was always a character for me. I think in the really early films, it literally is the missing person. It's the person watching. So, it's what I feel most natural doing. But I love all these other worlds. I'm about to go into rehearsals for an opera. I love that world as well. 
||[on The Captive (2014)] We're sort of inside this eternal present and it becomes a torture machine, where people are playing scenes over and over in their mind.. In terms of the mood, it feels like the world we live in. That's what I'm trying to do with this film - to create an expression of the space that we live in. I understand that it will create a wide variety of criticisms.
||This idea of clarity and that people should know at all times what's going on is obviously very attractive from a marketing perspective, but I think it would completely eviscerate the power of what these movies are about... We are still discussing what the opening sequence in Persona might mean and the wealth of possibilities that can be read into this piece of work. I believe that's why it endures.
||I think with all directors there are ideas that recur, at least for the ones that have creative control of their films.