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The first time you watch a movie that you like, all of the magic works on you. It's an experience of having a world unfold in front of you. But if you watch it again, you start to see where the seams are.

A lot of filmmaking is an endurance contest between you and the people you're filming. Every time that you relax, I promise you, something interesting will happen.

I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.

Full Frame is where I had the first showing of my first film, 'Street Fight.' I have a fond memory of pacing around outside the theater, nervously trying to keep from throwing up. It's a magical festival, well curated, with a warm and generous spirit.

I have a pretty positive view of environmental activism, but I didn't know much about the ELF. A lot of people make documentaries because they have something they want to say, but I make them because there's something I want to explore.

When I was in college, I majored in comparative religion because I really wanted to figure out if there was God and how I should live my life.

My understanding of environmentalism, of the things that radicalize people, of the ethics and effectiveness of different kinds of social protest have definitely become more nuanced and more informed, but they aren't much clearer.

Of course no documentary is completely 'objective.' Every decision you make - who to interview, how to edit, where to hold the camera - imposes a point of view on the film.

In 2008, A.J. Schnack recruited Thom Powers to start the Cinema Eye Honors to recognize the artistry and craft that go into making documentary films.

I've often thought even ragtag gatherings of documentary filmmakers are more fun than gatherings of fiction filmmakers.

In fiction film, there are so many trappings - money, glory, champagne and supermodels - that attract the wolves. But in documentary film, there's none of that, so the wolves stay away. The only people who make docs are people who are curious about other people and just like making documentaries.

I feel like people with their camera phones and Twitter and Facebook, this kind of question like, 'How can I be present and also document my presence or document what I'm doing?' is something that's always on my mind, even when I'm not working as a filmmaker.

I find often I'm wandering around the park with my kids, and I notice something, and I think, 'Oh, I could come up with a clever Facebook post about that.' It's like, 'Wait a minute - that's not what I should be thinking. I should be present in the moment with my kids.'

I'm looking for a charismatic character - somebody who you just want to look at and listen to and whom the camera likes. I'm also looking for a narrative arc: Something is going to happen, and there will be a question that will make you wonder what happens at the end.

To me, the best projects are the ones where you have a pretty good idea of what the spine of it's gonna be, but then all sorts of things happen that you could've never predicted, and those are the magic moments of the films.

To me, the most interesting films are films that take very strong points of view and bang them up against each other and let sparks happen.

As far as the balance between being a journalist, being an artist, being a storyteller - documentary filmmakers are all three of those things. The balance between them is affected by the film itself, the topic of the film.

If I were writing an article for the newspaper, it would be thesis statement, information, information, supporting arguments. That would be the setup. When I'm making a documentary, the pacing of the film and the way that you sort of switch from character to character - all of those are more about storytelling than straight journalism.

I think most documentaries are too long.

With 'Street Fight,' it took an urban mayoral election and found lots of complexity in there. The same with 'Racing Dreams.' I wanted to show complexity within this world that most documentary people don't know anything about.

When I'm making documentaries, I think a lot about how fiction films play. I want them to have the pacing, the twists and the character development of fiction films.

I'm not one of those people who sees documentaries as a stepping stone to doing fiction. I love documentaries and watch tons of documentaries. But, I like fiction films a lot, too.

After college, I did a bunch of different jobs - taught English in Mexico, worked in public radio, worked for a web design company - but there was something about documentaries that really attracted me.

I'm not a purist - I like films that are narrated and films that aren't, films that are beautiful and films that are clumsy but heartfelt. Mostly, I just like a good story and good characters.

I think I'm drawn to people who dream big, and both films have that. In 'Street Fight, Cory Booker wants to become Mayor of Newark, and in 'Racing Dreams,' three kids want to become NASCAR drivers.

My wife runs a non-profit that gives legal information online to victims of domestic violence.

I feel like a lot of funders of documentaries today want to fund films that have a social message that is going to yield results.

I think that in our society we use the word 'terrorism' a lot - individuals throw the word around a lot without carefully considering it.

I was surprised to see how much the mainstream environmental movement hates the ELF.

When you work on something in an edit room with just a couple of other people, you never know how it is going to be received.

When you are interviewing someone, never let your camera person turn off the camera. The second you turn off the camera, they'll say the magic thing that you'd been looking for the whole interview. People want to relax after the performance is done. Don't be afraid of awkward silence. That is your friend.

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