You know, and the fact that Nina Simone had to start playing in clubs and sing because her parents had moved north to support her music education. You know, so she had to sing. She had to make a living 'cause she was supporting her family. So poverty and race put her in this place which, you know, created enormous success, but it's not what her psyche was all about.

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."

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.

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.

Managers all over the world will go crazy when their artists are not touting the party line and making things pretty in the way that they're supposed to, but it's different when your manager is your husband. It's contrary to your soul. That commercial interest presses in upon your whole personal life.

When your entire life is focused around one goal and one goal only, and you have no other pursuits, it enables you to achieve enormous mastery.

In the Soviet Union, for instance, the pressure on the chess stars was immense. When Boris Spassky came home after losing that match, he found he no longer had an apartment in Moscow.