I have made all my films for my children with the exception of my first film because my oldest daughter wasn't born when I was making the film about the Brooklyn Bridge.

I never, ever want to apologize for a film. If it's bad I'll say it's my fault. And that's what I can say so far in all the films that I've done, that if you don't like it, it's entirely my fault.

I read cover to cover every jazz publication that I could and in the New York Times, every single day reading their jazz reviews even though I didn't put them in the films. I wanted to know what is going on.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

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

I treat the photograph as a work of great complexity in which you can find drama. Add to that a careful composition of landscapes, live photography, the right music and interviews with people, and it becomes a style.

Like a layer on a pearl, you can't specifically identify the irritant, the moment of the irritant, but at the end of the day, you know you have a pearl.

Louis Armstrong is quite simply the most important person in American music. He is to 20th century music (I did not say jazz) what Einstein is to physics.

To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.

When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.

When you are editing, the final master is Aristotle and his poetics. You might have a terrific episode, but if people are falling out because there are just too many elements in it, you have to begin to get rid of things.

Wynton told us that Miles sold out, just wanted to make more money, just wanted to sell more records. I don't believe that Miles sold out but I'm not in a position to say.

You can learn as much about the history from reading about the present as you can vice versa, that is learning about the present through history, which is what I do for a living.

You know, you meet some people, and do a lot of interviews, and you come across a Buck O'Neill and you know you are going to know him for the rest of your life. The same thing happened with Curt Flood.

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.

History is malleable. A new cache of diaries can shed new light, and archeological evidence can challenge our popular assumptions.

Good history is a question of survival. Without any past, we will deprive ourselves of the defining impression of our being.

By its very nature, no one person can ever be the center of jazz.

A jazz beat is a dynamic changing rhythm.