Quotes from R. J. Cutler

I first thought about doing a project about Anna Wintour and 'Vogue' when I read an article in 'New York Magazine' about the Metropolitan Museum Costume Institute Ball, the annual fundraising gala that Anna oversees. It created such a fascinating portrait that I couldn't help but be compelled.

On some level, you could say you wouldn't have 'In Style Magazine' at all had Anna Wintour not decided to put celebrities on the cover of 'Vogue' from her earliest years as Editor in Chief.

For eight months, from January to August of 2007, I filmed with Anna Wintour and her team at 'Vogue' as they created the September 2007 issue of the magazine.

Reality television has borrowed so much from the world of politics, whether it's alliances or voting or the kind of strategizing that's done. Anything like that came from politics well before it came from reality television.

I believe a democracy needs men and women of conviction in its positions of leadership in order for us to succeed. That's the subject of 'A Perfect Candidate,' a film I made 20 years ago about Oliver North and Charles Robb.

As a filmmaker, my approach is to come in not with preconceived notions, but with curiosity, and in that way, whether my subjects are James Carville or Anna Wintour or Dick Cheney, I am always surprised.

The presidency made John Adams an old man long before there was television. As early as the nation's first contested presidential election, with Adams and Jefferson running to succeed Washington, you had a brutal, ugly, vicious campaign that was divisive and as partisan as anything we're experiencing today.

'Taxicab Confessions' always cracks me up. And if you are in the mood for a good game show, I like 'Survivor' because it's well made.

I think the biggest challenge we faced in making 'The September Issue' was the fact that people in the fashion world are very suspicious of cameras. They're used to a camera being the enemy, something that is prying and looking to catch you in a compromising position, something that's judging you.

I'm big into not drawing conclusions for people. I think that's what makes for the most exciting, compelling films. I get bored when the politics of the filmmaker are the subject of the film that I see.

Feature filmmaking is a very powerful medium. It has a hold on me now.

I grew up on Long Island, and from as early as I can remember, as far back as first grade, I had two real passions - one of them was putting on plays, and the other was journalism. I was directing plays and editing school papers from first grade on, all the way through college.

The only thing documentary filmmakers have to work with, at least the way I make films, is trust. That's been true of everyone from James Carville and George Stephanopoulos to the kids in 'American High' to the soldiers in 'Military Diaries' to Anna Wintour to Dick Cheney.

Directing plays lacked the immediacy and connection to real world events that journalism offered; journalism lacked the drama, theatricality and subjective storytelling of theater. It wasn't until I had the idea of making a documentary film about the 1992 presidential campaign that these two passions came together in 'The War Room.'

With 'If I Stay,' I want you to feel that the whole story is being told from a larger, spiritual point of view. So the beginning is very theatrical.

It's my approach as a filmmaker always to go in, not with a thesis or preconceived notion, but with curiosity and questions and inquiry. So in some way, I'm always surprised. I'm always finding paths of engagement.

As with the subjects in all of my films, the incentive is left to the subject to determine on their own. I never ask someone why they say yes to me. After all, if you invited someone to join you for dinner, and they accepted your invitation, your next question wouldn't be, 'Why are you saying yes?'

I will say this: I think 'Big Brother' is the biggest snooze known to mankind.

I discovered the theater when I was in the first grade.

I don't think it's a coincidence that 'The War Room' and 'A Perfect Candidate' are films that have been consistently shown and available for rental for 20 years. These are films that are more about the moment in which they were filmed: they also have a great deal to say about larger issues about who we are as a country.

The great thing about 'American High' is that, every year, you can do a completely different environment.

No matter how much you've done before, you wonder if there will be a light at the end of this particular tunnel. It's the nature of the beast, and it's a part of what compels us. Every movie is a new lesson you learn making your way through it.

Working on 'The War Room' was a thrill, not only because we were given such exquisite access to the nerve center of Bill Clinton's first presidential campaign, but for me personally, it was so exciting to be producing my first film and working with documentary filmmaking legends D.A. Pannebaker and Chris Hegedus, who were the film's directors.

Belushi was one of my very first heroes. At a time when film, television, and music were undergoing tectonic shifts within American culture, he was at the center of it all. At that moment, he had the number one show on television, the number one film at the box office, and the number one record on the charts.