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I always thought that life is full of stories and characters that feel like literary stories and characters. So when I started making documentaries, they weren't humble empirical things, just following people around. I was always trying to impose a story.

Documentaries have always inspired me in narrative filmmaking.

I like stories that have a social impact and social attributes to them. That's the whole reason we make films: to broaden our limited view of things and to see how life is evolving elsewhere.

One of the reasons to do documentaries is that. There's more sense of creating something, more sense of my own soul in the documentaries than in movies, because I don't write the movies I do.

But I can say what interests me about documentary is the fact that you don't know how the story ends at the onset - that you are investigating, with a camera, and the story emerges as you go along.

Short films really helped me develop as a story teller, animator, and as a director.

Stories, as we're taught in journalism school early on, are told through people. Those stories make our documentaries powerful. You can explore someone's culture, you can explore their experience, you can explore an issue through human beings who are going through it.

In documentaries, there's a truth that unfolds unnaturally, and you get to chronicle it. In narratives, you have to create the situations so that the truth will come out.

My background is sociology. Combined with my graphic approach, if I could do some film projects, I think I'd be very good at making documentaries eventually, but people don't think of me for that, of course. But dialogue is something I know I can be good at.

Film is our literature, so we should tell stories that are apropos of our culture, in that we can learn something about ourselves.