Ken Burns

I mean, and that's the beauty of these storytellings.

I'm not taking anything away from George Washington by making it complex.

We're making him human.

He's not a statue out in the park collecting bird shit.

He's a real breathing human being.

He's one of the richest people in America.

He marries one of the richest people in America, a widow.

And like he's away.

He makes one visit home I think to Monticello during the whole – I mean to Mount Vernon during the whole war.

He's dedicated to this thing.

I mean he doesn't have to do this, right?

He's committed to this project of –

And that's the ultimate point I want to make about not just this film or Vietnam or all the things we've been talking about is that I've had the great privilege of making films about the U.S.

for nearly 50 years, Joe.

But I've also made films about us.

That is to say, the lowercase, two-letter, plural pronoun, all of the intimacy of us and we and our and all of the majesty and the complexity and the contradiction and even the controversy of the U.S.

And that is a privileged space to be operating in, to be having been given the permission to do this for nearly 50 years is just great.

I think I have the best job in the country.

And I'm always happy to meet somebody who's willing to contradict me.

But it's only because you have a chance to work hard at telling the story.