I've done interviews in one day that went on for fifteen, sixteen hours. And at a certain point, the control over what they're saying breaks down; it becomes different. It becomes really powerful, and for me, real. It becomes out of control.

What's great about documentary genre, it seems to me, is that it can be experimental filmmaking. You have a license to do a lot of diverse things under the umbrella of "documentary."

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

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.

Interviews, when they are just simply an exercise in hearing what you want to hear, are of no interest. And many, many, if not most interviews have that character. The interviewer who comes in with a list of bullet points they're going to address one after the other. Interviews, properly considered, should be investigative. You should not know what you're going to hear. You should be surprised.

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.

Photographs attract false beliefs the way flypaper attracts flies.