My films are as much concerned with truth as anything in vérité. Maybe more so.

I used to work as a private detective years and years ago. And my boss gave me this one very simple piece of advice about trying to figure out who to interview first in any investigation. His recommendation: Always pick the people who were fired. Pick the people who are pissed off.

I've had people turn me down. Not all that many, but certainly it happens.

I'm asked unendingly to become involved in series involving true crime and as it so happens the Netflix series that I'm working on is about a true crime.

If you want to trick someone with a photograph, there are lots of easy ways to do it. You don't need Photoshop. You don't need sophisticated digital photo-manipulation. You don't need a computer. All you need to do is change the caption.

War is such a peculiar thing - inaugurated by the whims of few, affecting the fate of many. It is difficult, if not impossible, thing to understand, yet we feel compelled to describe it as though it has meaning - even virtue. It starts for reasons often hopelessly obscure, meanders on, then stops

All alone - shorn of context, without captions - a photograph is neither true nor false.... For truth, properly considered, is about the relationship between language and the world, not about photographs and the world.