I've always been lured by fiction film, which was my earlier love. But I had the desire to have carte blanche when I made my first documentary film. I didn't want anybody telling me to make it longer, shorter, sexier, faster, to use this talent, or don't use that talent, to do that subject or not that subject. So I can, after making documentary films out of college for twenty-six years, tell you that if you don't like my film, it's all my fault. And I never ever want to be in a position where I would say anything but that, that if you don't like my film, it's all my fault. And every time I've had some connection with Hollywood, I've realized that somewhere along the line I was going to be in conversation with you, or someone else, and say, "Well, you know, they really weren't too happy with the script they gave, and there wasn't enough money to do this, and they made me use this person as the star, and I would have preferred this person, and then when we had a wonderful film despite all of these limitations at two hours and ten minutes, they cut it back to one hour and fifty." That is not the case. And so I have run with my tail between my legs in the three or four times I've had opportunities to work.
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