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.

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.

Oftentimes when people make movies about the '80s, they go back and look at '80s films, [but] those look nothing like the '80s. It's some watered-down version of reality.

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.

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.

Everybody feels protective and possessive about Kurt [Cobain] , and I think that can be attributed to his unique gift, an ability to touch our lives, and make us feel like he's our friend.