I remember when I did my Enron film, my executive producers at the time felt very strongly that I should mock the Enron executives more viciously because everybody wanted that moment.
I think the future of journalism is going to be a battle between caution and recklessness. And I think a little bit of recklessness is a good thing, as some of the WikiLeaks cables proved.
Wikileaks in its essence is a publisher, pure and simple. They were very much in the same position as 'The New York Times' and 'The Guardian.'
You have to assume once you go online, anything you put there can be made public. Yet while you're online, you feel like it's a private, sacred space. But you're really broadcasting to the world.
The job of a journalist is to find out stuff. The job of the government - sometimes - is to keep stuff secret. There's a natural tension there.
There are all sorts of inventive ways to get your film out there: sometimes via the Internet, sometimes via viral screenings in people's living rooms across the country.
I would tell filmmakers: 'Don't just be seduced by the same old, same old. There are interesting things you can explore that may get your film out there to audiences better than the traditional distribution mechanisms.'
'24' glamorizes torture. I don't think there's any other way of putting it.
Critics can say what they like about the films, but very often, there's a certain expectation of documentaries that they're supposed to be like PowerPoint presentations. I see documentaries as movies. So when I see some critics writing that we could have done without the recreations altogether - well, perhaps.
There's something magical about a home run. It almost violates the space of the stadium. It's a game of the imagination in some ways. Baseball.
I'm not sure why, but I seem to be drawn to stories about abuses of power. But I'm also drawn, not so much to victims' stories, as stories that tend to show how power works. Because if you don't understand the criminals, you can't figure out how to stop the crimes.
