I'm one simple way I think I've succeeded was capturing Elsa [Dorfman]. There's something about Elsa, her personality, and her work that I believe is there.

I used to work as a private detective years and years ago.

[Elsa Dorfman]was well known. Certainly in the Boston area, she's well known as a portrait photographer. My wife always wanted to meet her and then there was some benefit where she was taking pictures.

You can ask yourself, if a film makes a claim, is the claim true or false? Having said that, a style of presenting material doesn't guarantee truth. There's this crazy idea that somehow you pick a style, and by virtue of picking the style, you've provided something that is more truthful. It's as if you imagine that changing the font on a sentence you write makes it more truthful.

Recently it's become much to my surprise, something that does happen. For example, I used to get almost all of my stories, and it's probably still true, from newspapers. Primarily from The New York Times. No one ever really thinks of The New York Times as a tabloid newspaper and it isn't a tabloid newspaper. But there is a tabloid newspaper within The New York Times very, very often.

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.

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.