One thing people often forget when making a documentary is that, in a sense, you still have to cast, find a star, and it has all of those built-in challenges.

In documentary you sometimes see the tyranny of the linear, but what I've noticed in the last ten years in narrative film is the tyranny of the non-linear.

We all use dishwashers every day and yet none of us would say that we're experts on dishwashers, but somehow we all think we're experts on movies.

I think it would be really hypocritical of me to make the films I make, where I delve into people's lives, to say that my life can't be looked at or that I have to be this pristine, isolated figure.

With a living person you're always burdened with this idea of fair representation, treading this fine line between honoring the person, and yet you really look at the word "honor," it implies that you then have to address struggle and hardship and failure, and all these things that it means to be human, that you show the fullness of their life. If the person's living, they are able to interject.

If you just think about the difficulty you'll never get anywhere.

We don't see many films in which someone with schizophrenia is the main character.