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

A movie is like a tip of an iceberg, in a way, because so little of what you do in connection with making a movie actually gets into the movie. Almost everything gets left behind.

I like to think that I differ from other interviewers in the sense that I hide my agenda more successfully, and I'm more open to hearing stuff that is surprising and unexpected. That I'm actually involved in an investigation, through monologue, at times.

Language can be used to so many diverse ends. It can be used to clarify and, of course, it can be used to obfuscate, confuse, evade.

You can't tell by looking at a film-clip whether it is a drama or a documentary without knowing how it was produced.

In fact, part of the Netflix series is drama.Beyond re-enactments. Why not invent something new?

This uses a lens system, which I have used for years in various different ways, but I've never used it in the context of an interview. This is the very first time that I've done that. It's a lens called The Revolution, so it allowed me to interview Elsa [Dorfman] and actually operate the camera. Well one of the cameras, because there were four cameras there.