I like to think that one of things I've done with non-fiction since the very beginning is to find new ways of telling true stories.

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.

Ecstatic absurdity: it's the confrontation with meaninglessness.

The first Polaroid ever took of someone in my family was my son when he was about four years old.

Long, long before I became a filmmaker I was talking to killers. Filmmaking was an after thought.

The pursuit of truth, properly considered, shouldn't stop short of insanity.

I used to live in New York City, then when my son was two years old we moved to Cambridge Massachusetts and we've been there ever since. My son is now twenty-nine years old, so we've been up there for a while.