Sam Fragoso

Speaking of the documentary, one of the reasons you agreed to participate in the film is because you had seen several other films about war correspondence.

And they were always about men and, quote, no one ever really got it right.

What did you want to correct in making this movie?

There's a moment in the film where we see you in Somalia, Panama, and the Darien Gap, where you're working to tell these urgent stories, to show us in vivid photographic detail the cost of conflict, while also fielding a typical call from your family back home.

I want to play a clip from that moment.

In it, your husband Paul speaks first.

Hearing that clip now, how did it play to you?

Did he sign the photojournalist prenup?

You say in the film that raising kids is harder than war, which is a great one line joke.

But is any of that bit true for you?

In your memoir, It's What I Do, you write, when I return home and rationally consider the risks, the choices are difficult.

But when I'm doing my work, I'm alive.

Correct.

So when you're back home, how do you grapple with that?

Lindsay, I want to talk about how you arrived at doing all this work in the first place, which I believe began back in 1996, working at the Buenos Aires Herald, where you were paid $10 a picture.

At that point, did you know what photographer you wanted to be?

Well, hold on, Lindsay, hold on.

Why do you think you were so relentless?

Why did you keep badgering them?

But is the dog in this because you're the youngest of four growing up in Connecticut?