I think the combination of genius and celebrity, in the case of Bobby Fischer, was a dangerous cocktail.

Each project draws you in on its own merits as opposed to an intellectual choice of, "Well, I'm going to shift from vérité filmmaking to more archival."

I think all of us, looking back on our careers and our lives, there'll probably be a "road not taken" that we'll regret and mourn. Certainly, artists will always feel that way, especially when the path taken was more commercial than the one not taken.

There is so much investment in it of people's labor time that it will never make money. But there are other documentaries that you might make that are sort of on assignment for television that turn around in three to six months. Then the margin can be much be better for you because you're not spending three-and-a-half years on it. So I think if you're doing documentary films, that's sort of the way to look at it.

It has a lot to do with just sort of trust in the relationship that builds between the filmmaker and the subject. There are some people who will never be relaxed in front of a camera, and in some ways that's my failing as a filmmaker to not put them at ease. It's also a function of time, and if you have that type of time.

Every film I make I feel like I am getting a mini-masters degree, it's a wonderful life path and you get to immerse yourself in an intriguing world for a couple of years.

I guess what I get excited about when I'm thinking about projects is that toothy, complex area of goodness and badness and the gray areas of human behavior and existence.