An ecosystem that has the maximum amount of diversity is the richest.

One of the things I've been talking about with my critical writing and my own work is that these movies are seen differently in a theatrical space. It's very important to me. I edit films to be seen theatrically, like fiction material I've worked on like Listen Up Phillip or other documentaries.

A few years ago, for my birthday, Sean Price Williams said, "I'll give you one free day of shooting." He shot Kati with an I and co-shot Fake It So Real. While we've always worked together, I didn't want him to do it for free, so he cashed in his birthday chip and came for this one day.

Nothing is stable in the realm of power, and even closest of friends can be transformed into the worst of enemies.

I also make movies that can be seen on a small screen, as I shoot on digital video. Hopefully they can be seen small and can live like that.

Things like reading a book or learning a language, or taking a walk - they're not stimulating. Your mind has to sort of learn how to deal with that kind of stimulation on its own. So that's a very important form of adversity.

Even if it's a "talking head documentary" about a social movement or something along those lines, I've always thought of editing the timing and the sense of the piece for the theatrical experience.