For 'City of Ghosts,' I really didn't speak any Arabic. It obviously made it more difficult, but I also found it to be an advantage while shooting. It allowed me to focus on the emotion of the scene as opposed to just chasing dialogue.
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With newspapers cutting foreign bureaus and budgets shrinking for long-form, investigative journalism, documentary filmmakers are often filling a void nowadays in the media landscape with their ability to spend time with their stories and subjects.
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The contrast of ISIL's videos - which proclaim a fully-functioning and prosperous state - with those of RBSS, which captured the dysfunction and violence of everyday life, is shocking. In a sense, it's a war of ideas, a war of propaganda, a war being waged with cameras and computers, not just guns.
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I think in 'Escape Fire,' we really look at the military as a microcosm for the rest of America.
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Growing up in the digital age of filmmaking, I'm as guilty as anyone of overshooting.
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I think one of the major themes in 'Escape Fire,' really, if you break it down, is that huge institutions, the military, the Safeway Corporation and others, are being forced to change.
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Sundance is incredible and has been very important for my career as a filmmaker, but it's also not the only route to success. There are a ton of great movies that don't get in and go on and do wonderfully.
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I barely speak Spanish.
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I think health care is incredibly, incredibly important.
