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.

I've always wondered where explanations end and excuses begin.

There are artists who are very well known and many of us feel they should be less well known, while there are others who aren't well known and many feel deserve more attention.

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.

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."

There is a documentary element in my films, a very strong documentary element, but by documentary element, I mean an element that's out of control, that's not controlled by me. And that element is the words, the language that people use, what they say in an interview. They're not written, not rehearsed. It's spontaneous, extemporaneous material. People

My stuff always starts with interviews. I start interviewing people, and then slowly but surely, a movie insinuates itself.