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Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character.

I've been a documentary photographer for much longer than I have been a filmmaker.

Documentaries are a form of journalism.

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.

I may be wrong, but the essential illustrative nature of most documentary photography, and the worship of the object per se, in our best nature photography, is not enough to satisfy the man of today, compounded as he is of Christ, Freud, and Marx.

With documentaries, what's beautiful about them is that you capture something unique in a shot, something that will never repeat itself.

Documentaries are a powerful and effective way of bridging the gap between worlds, breaking through to new audiences that wouldn't otherwise be engaged - in essence, not preaching to the choir.

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.

I think the greatest thing about making a documentary is your ability to just follow the story and the subject.

I like the idea of the documentary as a portrait. There's not a chronological beginning, middle, and end structure. You build something in the editing room that's shaped by getting to know the person and digging deeper, unpeeling the layers of them as you get to know them.