A lot of the distinctions that we make between drama and documentary are spurious. We're deeply confused about these issues. About the difference between the two, about where documentary ends and drama begins.

What is it that angers us?... We have been tricked. In essence, we have been lied to. The problem is not that the photograph has been manipulated, but that we have been manipulated by the photograph.

I actually wanted to publish [ interview with Donald Trump about Citizen Kane] in the New York Times, but the circumstances under which I did that movie made me vulnerable to a lawsuit and at this point in my career, I don't want to go there. But it's amazing.

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.

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 can burn archives; people can destroy evidence, but to say that history is perishable, that historical evidence is perishable, is different than saying that history is subjective.

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."