Nowadays, if a studio assumes that his film is bad, there is always an executive that gets more nervous than usual and thinks that if they change the music, the film will become a masterpiece.
“I like the idea of the documentary as a portrait. There's not a chronological beginning, middle, and end structure. You build something in the editing room that's shaped by getting to know the person and digging deeper, unpeeling the layers of them as you get to know them.”