What do you hope to achieve with this film?

While the film set out to put a human face on the tragedy of drug addiction and the selflessness of grandparents raising their grandchildren, it ultimately became an inspiring story about how two brothers who were devastated by their mother's addiction found a way to thrive.

How did you get access to and earn the trust of this family for such an intimate documentary?

We met dozens of young people, including Danny and Raymond, in Sunset Park, Brooklyn at an after-school program run by an extraordinary family support organization. We were struck by Danny's charisma and candor. When Danny introduced us to his family, it became clear that the two brothers were desperately hoping to be reunited with their mother, who was battling crack addiction. We spent several months getting to know the family before we began filming. By the time we showed up with cameras, we had established a great rapport with the family. We were in touch with them almost every week for two years and became such a permanent fixture in their lives that they began to lose their self-consciousness in the presence of the cameras.

The independent film business is a difficult one. What keeps you motivated?

Unfortunately, documentaries often get a bad rap. For many people watching a documentary is like eating spinach-it's good for you even though it doesn't taste good. But I believe documentaries can have every bit as much drama and pathos as the best fiction features. The kind of realism, intimacy, and raw emotion that we were fortunate enough to capture in WHY CAN'T WE BE A FAMILY AGAIN? is what motivates me to make non-fiction films.

Why did you choose to present your film on public television?

This program is the twenty-second documentary I've produced for PBS over the past two decades. I believe that the social mission of PBS makes it the most suitable home for all of my documentaries. While I always strive to tell powerful stories with strong subjects, all of my films are based on a deep underlying commitment to social justice.

If you weren't a filmmaker, what kind of work do you think you'd be doing?

If I couldn't express myself on film, I would want to express myself in print as a journalist. I relish my role as a writer on those films that contain narration, and I believe that words can be as powerful as pictures.

What do you think is the most inspirational food for making independent film?

I couldn't make films without coffee–strong coffee. I wouldn't make it through the long shoot days and seemingly endless post-production process without my trusty espresso machine.

What advice do you have for aspiring filmmakers?

Don't take no for an answer. I can't tell you how many times we were able to get what we needed for our film despite being told "no" at the outset. A closed door is a challenge and not the final word.

What film has influenced you the most?

I saw Hearts and Minds when I was in high school during the Sixties and it captured the anti-Vietnam War sentiments of my generation in a remarkably poignant and visceral way. I was blown away by the power of the film to distill many of the feelings that I was not yet able to articulate myself.