about what’s happening formally in documentaries right now?
S K: For the most part, I do. It’s a way of telling stories I’ve been fascinated by for a long time, even before I became a maker or started celebrating in rapturous prose all the incredible work I see. I want to concentrate on people pushing the form in exciting ways, not the horror stories of elusive funding and how hard it is to make films and how we can monetize all this in some way. I’m bored by all that. I see too many instances where people make their films on their own terms using money they scraped together somewhere and made a beautiful, personal piece of work.
It’s interesting that in this particular form—in most creative endeavours, but particularly this one where you are investing years and years of your precious life and it’s hard to keep the mechanism going, and there’s so much mystery