Truth and falsity is something that concerns language, it's a property of language.

I believe we have two ideas about how movies are made in our heads. Idealizations. Platonic ideals. One of them is of a movie that is completely uncontrolled, and another is a movie that is completely controlled. The auteur theory vs. cinéma vérité.

What's great about documentary genre, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of "documentary."

Simply coming to the perpetrator and delivering the message is Nozick's definition of revenge. And in that sense, Adi is exacting revenge. When people ask, "Does Adi want revenge?" - they mean violent revenge. But in Nozick's formulation, it is revenge. That is the essence of revenge.

Appearing on the front page of the New York Times even given the state of papers today is still something that's seen by a lot of people.

There is a documentary element in my films, a very strong documentary element, but by documentary element, I mean an element that's out of control, that's not controlled by me. And that element is the words, the language that people use, what they say in an interview. They're not written, not rehearsed. It's spontaneous, extemporaneous material. People

I've been horribly depressed (lately), which, as you know, can be terribly time-consuming. I mean, if you're going to do it right, that is.