The way I go about making a movie... even the ones that are interview-driven, I go into them not knowing what's going to happen, and feeling my way through.

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.

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.

A lot of the themes of my movies, the actual stories, come from tabloid stories.

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

War is such a peculiar thing - inaugurated by the whims of few, affecting the fate of many. It is difficult, if not impossible, thing to understand, yet we feel compelled to describe it as though it has meaning - even virtue. It starts for reasons often hopelessly obscure, meanders on, then stops

All alone - shorn of context, without captions - a photograph is neither true nor false.... For truth, properly considered, is about the relationship between language and the world, not about photographs and the world.