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.

I think that every film should have its own structure, and that's the beauty of film language - is that we get to express that deeply individualistic side of ourselves.

My grandpa could go days, weeks, even months without a drink but if he took that first drink, he couldn't stop. Once, when I was twelve, my mom and I were driving and we saw my grandpa staggering drunk down the street. I asked if we should stop and help him. My mom sadly shook her head and kept driving.

I think that most of us instinctively avoid people with mental illness.

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.

I've been very lucky in my life to have some great teachers.

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.