I never met Kurt Cobain, but I felt like I got to know him in a manner probably more intimate than anyone I've known outside of my family.

My documentaries have always been very much constructed in the spirit of dominant cinema. From the time I started making non-fiction, I was mainly interested in designing and creating documentaries like fiction, so it was a natural evolution to try and embark on doing a dramatic narrative.

When I grew up, we had no babysitters and nobody every observed us. People don't parent like that today. They're very hands-on; kids are constantly being supervised.

Kurt [Cobain], from the moment he could hold a paintbrush in his hand, was painting. And from the moment he could hold a guitar, he was playing

I have three children, and they have never spent a minute unsupervised in their lives. My generation overcompensated like mad. I'm not even joking, every kid on my street [growing up] was molested. My kids would not have had an opportunity to molested, because they've never been alone, which is going to create a whole set of problems.

I try and make non-fiction films that feel like fiction, so I'm always looking for the subtext and that's what really excites me.

Every second counts. We are only on this earth for a short amount of time, and we get to decide how we want to use that time. And if one thinks that the purpose of life is to leave the world in just a little bit better place than we found it, it's hard to think of anyone who has contributed more than Jane Goodall.