I'm delighted to get this award.

But it still serves as a primer for everyone who's watching the trial.

It's a very complicated story. It still is, even as the trial approaches. My job was to let everyone in on what was going on. With these types of stories, you can get lost in the details when there is a bigger tale to be told. I felt a film could really do that.

I think myself and a lot of other documentary directors owe a debt to fiction filmmaking. The key was to follow the characters and let the narrative be your guide, without getting distracted by other things. By structuring 'Enron' like a heist film, it enables people to understand enough of the complexity without getting bogged down by it.

Early on, I got very nervous -- I thought I had taken on the wrong assignment. I remember thinking, 'You just signed on to make a film about accounting' -- that's like Rule No. 23b in the filmmaker's handbook: Never make a film about accounting.

The message films that try to be message films always fail. Likewise with documentaries. The documentaries that work best are the ones that eschew a simple message for an odd angle. I found that one of the most spectacular films about the Middle East was 'Waltz With Bashir,' or 'The Gatekeepers,' or '5 Broken Cameras.'