What motivates me is the desire to bring up a whole new generation of active citizens who believe in peace and social justice and will work for it.

They were not mentioned in the Declaration of Independence, they were absent in the Constitution and they were invisible in the new political democracy. They were the women of early America.

I was just a seventeen-year-old kid, going to Times Square to participate in this left-wing demonstration. The signs were for peace and justice and so on. But then I was attacked by police mounted on horseback and on foot. Before I knew it, I was clubbed and knocked unconscious. So it gave me a radical view of the United States, a critical view of the role of the state and of the instruments of the state - the police, the Army, and so on - as not being neutral at all in political battles, but being generally against workers and against striking people, against dissenters of all kinds.

Unfortunately, the greater consciousness among Whites about Black equality has not carried over to the new victims of racism - Muslims and Immigrants. There is no racial enlightenment for these groups, which are huge. Millions of Muslims and an equal number of immigrants, who whether legal or illegal, face discrimination both legally from the government and extra-legally from White Americans - and sometimes Black and Hispanic Americans. The Democratic Presidential candidates are avoiding these issues in order to cultivate support among White Americans.

The film's title You Can't Be Neutral on a Moving Train. comes from something I used to say in teaching my students "This is not going to be a neutral class." The world is already moving in certain directions and wars are going on and children are going hungry. Terrible things are happening. And so to be neutral in a situation like this is to collaborate with whatever is going on. And I don't want to collaborate with the world as it is. I want to intrude myself. I want to participate in changing the direction of things. So that's the origin of the title.

I knew that a historian (or a journalist, or anyone telling a story) was forced to choose, out of an infinite number of facts, what to present, what to omit. And that decision inevitably would reflect, whether consciously or not, the interests of the historian.

I wanted to be a part of history and not just a recorder and teacher of history. So that kind of attitude towards history, history itself as a political act, has always informed my writing and my teaching.