I spent my youth on the streets of St. Louis, obsessed with making photographs. I had no interest in movies in those years, but my mother had been
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In 1994 I was a queer, Asian-American art student attending the University of California San Diego. Having grown up in a very white, conservative
I was late arriving to the 2015 True/False Film Festival and lamenting missing all the screenings I’d planned to see that night. However, after a long
Ross McElwee’s brilliant Sherman's March was a revelation when I first saw it in 1987. I had never seen anything like it—a one-man band filming his
When Tom White invited me chose the film I'd most want to have with me should I be left on a desert island, I found the challenge insurmountable
In the middle of shooting my first feature documentary, I stole away to Sundance, hoping for a little inspiration. I happened to catch Josh Aronson's
In 2000, I was a young filmmaker on my way to my first Sundance Film Festival. If I didn't already know everything there was to know about filmmaking
American flags, open roads, mixed drinks and Andy Warhol eating a Whopper: In 66 Scenes from America, Jørgen Leth's collection of cinematic postcards
I believe I've gone through a half-dozen laptops since 2007, when I first saw Peter Watkins' film Edvard Munch. There's a pair of screenshots captured
As a documentary filmmaker, I see film as a powerful tool for viscerally connecting audiences with subjects, empowering the voiceless, and immersing