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.

If someone tells you that George Bush is not the 43rd president of the United States, they might be engaged in wishful thinking, or denial, but if they make that claim, it's either true or false! And you can assess that, regardless of whether there's an omniscient narrator, or an unreliable narrator, or it's shot in vérité, or it's manipulated, it's agitprop, whatever! It makes no difference! It's a style!

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.

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.

People like nonfiction presented to them in a certain way, so that they don't have to think about whether it's true or not. They like it to have that imprimatur of respectability, of genuineness.

Part of the mystery of any given photograph is the fact that it was taken at a certain time and in a certain place and time keeps moving on. A photograph might be a moment in time preserved, but the world continues to change around it.

People often trust low-res images because they look more real. But of course they are not more real, just easier to fake. [...] You never see a 10-megapixel photograph of Big Foot or the Abominable Snowman or the Loch Ness Monster.