When I did 'Don't Look Back,' I no longer had Time-Life looking over my shoulder, so I could kind of do it as I wanted, and it was like I was really correcting 'Jane.'

We're actually thinking about distributing 'Moon Over Broadway' on-line. It's tempting, because when you go to a major studio, it's sort of like a farm, you know? They make all the money, since it's kind of a buyer's market.

I kind of liked the idea of filming musicians. I could like a musician and know, at the same time, maybe nobody else maybe liked them much or appreciated them.

Filming is a witnessing process. You don't try to control it, even though sometimes you wish you could because it can go really, really wrong for you.

The very first thing I ever did, I was doing some work for the French Cultural Center. They wanted a little recording set up. And I got wire. A wire recorder. The wire came off spools, and to cut and edit, you tied it together in little square knots. Can you imagine?

People don't really want reality. They want theater, and that's different.