It's really hard to know why certain artists become famous and others don't.

I think we get into all kinds of difficulty by saying photographs should be taken in a certain way which guarantees their veracity. I think that's a slippery slope to hell.

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

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.

The proper route to an understanding of the world is an examination of our errors about it.

Think of my movies as heightening our awareness, not confusing the difference between truth and fiction, but heightening our awareness of how confused we can become about what is real.

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.