History isn't really about the past - settling old scores. It's about defining the present and who we are.

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.

By its very nature, no one person can ever be the center of Jazz.

When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.

One of the things I really like about Ford's films is how there is always a focus on the way characters live, and not just the male heroes.

I enjoy total creative control right now. Nobody tells me to make it longer, shorter, better, sexier, more violent, whatever.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.