As a dramatist, I don't have politics.

I'd like to be honest to my time, and I lived from 1946, and I want to understand why our country, which I love so much, and was a great country when I was young, it seemed, became this monster vampire on the face of humanity- a vampire squid, to quote Matt Taibbi, sucking out the juices of all mankind. Why? It's a basic question.

I'm not an activist. I'm a filmmaker. I'm a dramatist. My strength is to tell a story, to find a way to tell a story that makes it exciting. Our Untold History was a huge challenge. Snowden was no piece of cake, because writing code and breaking code is some of the most boring stuff you've ever seen.

I went to Vietnam, and I was there for a long time. [Using marijuana] made the difference between staying human or, as Michael Douglas said, becoming a beast.

I like automatic weapons. I fought for my right to use them in Vietnam.

I want my children to have access to something that looks beyond what I call the tyranny of now. You read the paper, everyone talks about that thing [in the news] that day, and all the subconscious really important stuff that's going on is being neglected. The beauty of history is that historians have the ability to find patterns, the big picture. When you make a movie, you try to find that. I'm doing in the cinema what historians try to do in their own media.

There is a Greco-Buddhist school of architecture and sculpture that you find everywhere in the world. It's fascinating, because Alexander died in 323 B.C. and Buddha existed around 500 B.C. But Alexander met Buddhist-type sages. And they had a different view of the world, as you know. They saw it in circular terms. They didn't need to conquer any land. And there are blond people who live in that region who are said to be descended from the soldiers who stayed. He left garrisons all over the world as he went.