“She can go for hours and hours, talking and driving all over the city and flying all over the country, never breaking a sweat. There were days when it seemed like we filmed 24/7. My associate producer caught on and decided to book us a flight every day to the two cities Mrs. Marcos frequented, just in case we had to fly at a moment’s notice…. It was Zen filmmaking at its best—a method I’ve sworn to adopt for every subsequent production because in the end, it worked. I was able to film compelling scenes, some I couldn’t have planned nor imagined….”

“Financing was the biggest struggle: we were forced to make the film in a very unorthodox way. We raised as much money as we could and then just started shooting. We shot for six days and then used those scenes to raise more money over the course of a year. Then I called all the actors back a year later and we picked up where we left off….”

“As with all of my documentaries, I tend to get very involved in the communities in which I film. I spent ten years living in D.C., attended church services and allowed people to slowly get comfortable with the idea of making a film…. [We] spent many hours discussing our approach to the film with the congregation, working slowly to gain their trust that we would tell their story from their perspective, and with honesty, dignity and respect….”