I actually wanted to publish [ interview with Donald Trump about Citizen Kane] in the New York Times, but the circumstances under which I did that movie made me vulnerable to a lawsuit and at this point in my career, I don't want to go there. But it's amazing.

I don't think that anybody really makes films quite like mine. That's maybe true of any filmmaker.

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.

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.

I've always loved [Elsa Dorfman] work. I've loved her and her work is so much an expression of her. One of the reasons to make the film is to expose Elsa, hopefully, to a wider audience.

Film is lies at twenty-four frames a second.

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.