You have Kurt [Cobain], and he's singing about your experiences. They're our collective experiences.

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 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.

Sometimes, you chase the moment and you can never catch it. Films take so long to make that you can never anticipate what the cultural landscape will be when the film enters the world.

The only people who really love the '80s are millennials. We had Reagan and Bush for our entire youth, the culture was terrible, the fashions were terrible, the movies were terrible.

You have Kurt [Cobain], and he's singing about your experiences. They're our collective experiences.

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.