The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.

The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.

I don't want the people I'm with on this journey to feel like I'm filming them all the time. I don't want them to constantly feel as though they're being watched. So I will have the camera ready at all times, but I will only film when something is really worth filming. Those are the moments when the person being filmed is usually not aware of it.

Personally, I don't like watching films about victims - people where you're meant to think, 'Oh, this is terrible,' and you go home feeling really depressed.

I try to make films where the audience forgets the filmmaking and gets engrossed in the story as it unfolds. I don't want them to ever feel bored, or that they're being told what to think, or to feel depressed. I don't like films about victims - I want to celebrate brave survivors like Brenda and the wonderful women in the film.

It makes it very easy. I have a beginning, middle, and end, and I don't film for long - about 20 hours usually for a two-hour film - so it's easily watchable in a week for me and the editor. Once I know who the characters are, I only film those characters, unless somebody else forces their way into the film by a scene happening to them or we meet them by chance.

People want black and white answers, but it's not one thing or another. I think the only way we're going to make good things is to inspire people and make them feel as though what they're watching is real.