People can burn archives; people can destroy evidence, but to say that history is perishable, that historical evidence is perishable, is different than saying that history is subjective.

Those who cannot remember the past are condemned to repeat it without a sense of ironic futility.

There's this crazy thinking that style guarantees truth. You go out with a hand-held camera, use available light, and somehow the truth emerges.

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.

Right now, we live in bad times in this country, and the fact that there are filmmakers addressing political and social issues is to me a good thing.

I like to think that every movie emerges from the conversations.

When you start talking about the known knowns and the unknown unknowns, you're thrown into a crazy meta-level discussion. Do I know what I know, do I know what I don't know, do I know what I don't know I don't know. It becomes a strange, Lewis Carroll - like nursery rhyme.