I think we too often make choices based on the safety of cynicism, and what we're lead to is a life not fully lived. Cynicism is fear, and it's worse than fear - it's active disengagement.

I can understand why some of these drummers and bass players become cult figures with all of their equipment and the incredible amount of technique they have. But there's very little that I think satisfies you intellectually or emotionally.

I have made a film about jazz that tries to look through jazz to see what it tells us about who we are as a people. I think that jazz is a spectacularly accurate model of democracy and a kind of look into our redemptive future possibilities.

I think my expectations for myself are much more severe and much more direct. You can't work on a film for six years without being your own toughest critic. So you can't really be distracted by the expectations based on your previous performance.

I wake the dead. I bring Jackie Robinson and the Roosevelts to life. Who do you think Im trying to wake up?

I think we continually need to understand how important an event the war was - how defining, how central to who we are. Everything that came before it led up to it, and everything of importance to this country - at least up to 1940 - was a consequence of it. Even now there's an echo of the war, however faint, in almost everyone's life.

I think the problem with a lot of the fusion music is that its extremely predictable, its a rock rhythm and the solos all play the same stuff and they play it over and over again and theres a certain musical virtuosity involved in it.

We all think that an exception is going to be made in our case and were going to live forever. Being a human is actually arriving at the understanding that thats not going to be. Story is there to remind us that its just OK.

I don't think that there has been a film that I've done that hasn't been influenced by libraries and archives.