Some documentaries are made by people who are driven more by one particular story, or have different backgrounds or ambitions, but I'm always looking for projects that let me be the best filmmaker I can be, and to be stretched and grow further.

There's a theory of accidents that I studied when I was making a film about nuclear weapons: you can never eliminate accidents, because the measures you introduce to prevent accidents actually produce more accidents. That's certainly true of this sport; you're flying over 40 feet of what might look like snow, but it's hard as ice, it's as hard as pavement. You're doing acrobatic spins and tricks, 40 feet above pavement, essentially. There's been more accidents since, and there are going to continue to be more accidents, that's the nature of the sport.

I remember when the Berlin Wall fell and suddenly intractable problems get solved.

The world needs more women filmmakers, so we have to keep encouraging ourselves and one another, and eventually things must get easier for us.

I've always been a fiction filmmaker and I've been heading in the direction of fiction filmmaking, doing documentaries along the way.

I don't know if people realize how hard I work, because sometimes people ask me for my secret. The truth is that I don't have any secrets apart from the fact that I've been directing theater and film for twenty years and trying at every stage to make my work better.

I don't believe in objectivity. I observe the observer's paradox every moment I'm filming. Your presence is changing everything; there's no mistaking it. And you have a responsibility.