People think in narratives - in beginnings, middles and ends. The danger when you edit something too severely is that it no longer makes sense; worse still, it leaves people with the disquieting impression that something is being hidden.

Did you know that Nuremberg courtroom was designed so that the Allies could project movies during the trial? And, also so that they could film the trial? The first movies that were shown were prepared by John Ford - a compilation of material from the liberation of Bergen-Belsen and Dachau. But here comes an interesting part. Did you know they lit (using fluorescent tubes) the defendants so they could be filmed watching the films that were shown during the trial?

I used to say that interviewing others was perhaps the way I could stop talking and start listening. It's a kind of enforced silence.

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.

Philip Glass once told me, "They can always copy what you've done, but they can't copy what you're going to do."

When you start talking about the known knowns and the unknown unknowns, you're thrown into a crazy meta-level discussion. Do I know what I know, do I know what I don't know, do I know what I don't know I don't know. It becomes a strange, Lewis Carroll - like nursery rhyme.

My films are as much concerned with truth as anything in vérité. Maybe more so.