I never really had any intention of getting involved in documentaries until the opportunity came around. I always thought much more in classic fiction cinema terms and I think I tried to apply those ideas to documentaries and not vice versa.

I can talk about film theory forever and it may sound pretentious or something, but really it's just that I'm fascinated by it.

I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.

There is nothing wrong with saving the world, but it's a little boring.

[W]hen you're shooting a doc, you're trying to class it up because you can. You know, you're trying to make this feel like cinematic experience. And when you're doing fiction you're trying to do the opposite thing you're trying to take this very artificial experience this very artificial experience and make it feel real and visceral.

I never really had any intention of getting involved in documentaries until the opportunity came around. I always thought much more in classic fiction cinema terms and I think I tried to apply those ideas to documentaries and not vice versa.

I've always been a big proponent of point of view in cinema. Not necessarily that the point of view has to be subjective, but that in all great films the point of view has been taken into account and established.