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.

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.

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."

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.

Bobby Fischer was hugely important for the American chess community because it put chess on the map - he made it possible for other chess players to make a living.

The Ancient Romans did not regard acts of genius to emanate from within an individual - but rather saw it as a collaboration between a spirit of creativity and a human being. So it could be that sometimes an individual had that power, that divine inspiration, or other times not. The spirit might have moved on to some other lucky soul.