There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.

I think often people fall into the breadth trap of wanting to do too long a period of time, and obviously there's this sort of algorithm of how much depth you can put into something times how much of their life you're trying to show. My attitude has always been, I'd rather show a briefer period of time in more detail than a longer period of time in less detail.

What's great about things like Kickstarter is that it enables me, finally, and without any bad feeling at all, when people come up to me now saying, "I want to do this." I can just go, "There are no excuses anymore."

We all get outraged by things and there are things that make us angry and maybe for a while we get angry enough to actually go do something about it.

I grew up mostly in the South, and there's definitely something about the South that's different from the North. When people ask me where I'm from, I say Louisiana. I spent more years there than anywhere else.

Everything is the director's fault - you can quote me on that. There are no excuses.

I can make a movie about Lee Harvey Oswald and make you feel what he feels and make you understand why he believes what he believes. That doesn't mean I think you should go out and shoot JFK.