Alex Gibney

For years, the Bush Administration eviscerated all the military and legal structures that were designed to separate the innocent from the guilty in the 'Global War on Terror.'

When we were working on 'Taxi to the Dark Side,' we would purposefully not show it to certain people in the cutting room, because we would include a lot of horrible material and would need a fresh pespective. They would look at us and say, 'Are you out of your minds? You can't include that!'

I remember when I did my Enron film, my executive producers at the time felt very strongly that I should mock the Enron executives more viciously because everybody wanted that moment.

Every film is faced with the enemy of time. Only so much story can fit into the 90-150 minutes of time that moviegoers are willing to stay in their seats. Naturally, compression is necessary. So are the exclusion and amalgamation of characters so that the viewer does not become bewildered.

It would be hard to go to your neighbor and say the things people say on the Internet without getting punched out or having your tires slashed.

You have to assume once you go online, anything you put there can be made public. Yet while you're online, you feel like it's a private, sacred space. But you're really broadcasting to the world.

Why do we even need WikiLeaks? They're not the only organization that publishes leaks. And they don't have some special technology that allows them to post on the Internet with mirrored sites. The idea of WikiLeaks lives on, but as an organization, it's become increasingly irrelevant.

Wikileaks in its essence is a publisher, pure and simple. They were very much in the same position as 'The New York Times' and 'The Guardian.'

There's something magical about a home run. It almost violates the space of the stadium. It's a game of the imagination in some ways. Baseball.

I'm not sure why, but I seem to be drawn to stories about abuses of power. But I'm also drawn, not so much to victims' stories, as stories that tend to show how power works. Because if you don't understand the criminals, you can't figure out how to stop the crimes.

The message films that try to be message films always fail. Likewise with documentaries. The documentaries that work best are the ones that eschew a simple message for an odd angle. I found that one of the most spectacular films about the Middle East was 'Waltz With Bashir,' or 'The Gatekeepers,' or '5 Broken Cameras.'

In the U.S., hospitals are rewarded for keeping hospital beds full. That's the market at work. The question is: should we work for the market, or should the market work for us?