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.

My films are as much concerned with truth as anything in vérité. Maybe more so.

I used to say that interviewing others was perhaps the way I could stop talking and start listening. It's a kind of enforced silence.

I probably wouldn't have done [ Fred Leuchter story] if it was just a story about an executioner or a holocaust denier, but the combination of the two elements was irresistible. So yeah, I find it strange that there are so many people out there now.

I asked [Donald Trump] if he had any advice for Charles Foster Kane and he said, "Yeah, get yourself a different woman."

The very idea of photography is as Oliver Wendell Holmes said in the 19th century, "it's a mirror with a memory."

Maybe today I would call Fred Leuchter and there would be two or three other documentary filmmakers interested in his story simply because of the exposure.