I didn't go to film school so my learning was done out in public and showed up on the screen.

If you're doing a music film, you've got to be singing about something.

I've never had a good game plan. At a certain point, making independent films became more and more appealing to me because I like freshness and originality.

It's a funny thing with documentary films - you want them to feel as entertaining and as gripping as a fictional film. With a fictional film you want it to feel as realistic as a documentary film.

It's such a rich experience when you enter into a subject from a documentary point of view. It's hard for fiction to compete with that.

I'm of Neil Young's generation. Neil Young's songs have spoken to what it's like to be at least a white male of his generation over the years. Endlessly, he's sung about the stuff that I really care about. He's put into words the feelings that hit you at different transitional moments in life.

When Silence of the Lambs did well commercially it was more than anything. My partner Ed Saxon and I were just so relieved that finally we had made a movie that had made some money!

I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.

Music films are great, but they can never compete with a live performance. Live music is what it is. It's the whole point. You experience it in the moment.

I think music is just a wonderful ingredient that helps us understand a scene better. And certainly you can overuse music, and you can use the wrong music. I probably have been guilty of these things over time. But if you use music correctly as a friend of the theme, a friend of the narrative, ou can lend some terrific connective tissue to a film.

Extraordinary people are the Green Berets and the Navy Seals and the Olympic athletes - these are the ones who can face these extraordinary physical challenges and be triumphant.

A trilogy is a pretty abstract notion. You can apply it to almost any three things.

If you're doing a music film, you've got to be singing about something. Or, you have to be singing in a vocabulary that has tremendous appeal or else people are not going to want to sit there for eighty or ninety minutes hearing this stuff.

Everything I've made - it doesn't mean they've all been good - but everything I've made so far, big or little, fiction or documentary, has been something that I've been really enthusiastic about.