I think that I'm pretty much who you see onscreen. Are there times when I ask questions of people and have a sense of what their answer may be? Sure. I think that you can't deny that. But you still want to hear from that person, even though you may anticipate what they may say. I am as natural right now as I am when I talk to somebody in the Middle East. It's just trying to be a real person to them. So long as I can be as honest with myself when I make a movie like that, I can continue to be honest with you.

I'm making entertainment, but I'm making art. This is my art. Hopefully, it's profitable, hopefully it makes money, but at the end of the day I want it to be remembered for its artistic value as well as its entertainment value.

Seventy-five percent of Americans don't even have passports. We don't even think about traveling beyond our borders.

When I experience something or feel something, that's kind of transferred to the audience. There's a lot of great breakthrough moments that come out of that.

I'm not somebody who comes in with a whole outline, and says, "Here's the movie we're going to make." That's not what a documentary is for me. I think a documentary is about capturing events as they unfold in real time.

I think we had an incredible opportunity to capitalize on that right up to Libya. I think we've made a step toward something that might be a mistake. I personally believe Saddam Hussein and Ghadafi are not good guys by any judgement, and there are ways to deal with it beyond what we did. Once you decide to attack, it paints an ill-conceived picture.

You come downstairs, turn off the TV, and then and your son says, 'Daddy, I want to get that wrestling set, and all the pieces are sold separately.' The minute he quotes a commercial verbatim, that's when he's had enough TV.