This is going to sound crazy, especially in America where there is a total inflation of the word "love," but in a sense you have to love the people in front of the camera. There has to be trust between the one who is behind the camera and the people on the other side, so that they can relax. They have to feel they are safe, and that way they don't have to pretend just because they are scared.

In all my documentaries I did all the camera work, but in fiction I didn't want to do it myself. I think the machinery is so heavy and demanding that you would leave the actors alone for a long time.

I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.

I had worked in fiction a lot before I started making documentaries, but when I was around 32 or 33-years-old I suddenly got so fed up with the world of fiction, which is so money-centered.

At 13 I was someone that didn't have a personality yet. It's a fascinating period in a human life. It's so exciting because you are in between childhood and adulthood.

We exaggerate the difference between documentary and fiction. I think that on some level a fiction film is also a documentary on the actors. You can't wash away your life's history, which is written on your face, unless you get a facelift.

Every documentary is subjective. It's a total lie to say there are objective documentaries.