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.

I like to think that every movie emerges from the conversations.

We live in a very litigious society. I've never sued anybody. I certainly can imagine a situation where I might sue, but it seems more or less in bad taste.

I like to think that I differ from other interviewers in the sense that I hide my agenda more successfully, and I'm more open to hearing stuff that is surprising and unexpected. That I'm actually involved in an investigation, through monologue, at times.

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.

Certain kinds of intimacy emerge on a phone call that might never occur if you were sitting right next to the other person.

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.