I read cover to cover every jazz publication that I could and in the New York Times, every single day reading their jazz reviews even though I didn't put them in the films. I wanted to know what is going on.

I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.

I think we too often make choices based on the safety of cynicism, and what we're lead to is a life not fully lived. Cynicism is fear, and it's worse than fear - it's an active disengagement.

World War II is smothered in sentimentality and nostalgia. What's interesting about Vietnam is that sentimentality is just not there, so you're given kind of a clean access to it in one way. It's also a war that represents a failure for the United States. Many people came back feeling like they never wanted to talk about it again. And so we developed a national amnesia.

Filmmaking is essentially about entertainment, but it's amazing to realize that it has this other muscle that could actually help. Do you know what I mean? People permit entertainment to wash over them, but every once and a while, entertainment - and this is entertaining - also galvanizes something else and that would be a really good thing to have happen in this case.

I have come to the realization that history is not a fixed thing, a collection of precise dates, facts and events (even cogent commencement quotes) that add up to a quantifiable, certain, confidently known, truth. It is a mysterious and malleable thing.

You don't work on something for six years and be blind to the myriad of other approaches.