Documentary filmmakers claim the right to present their subjects however they see fit, free to manipulate, to skew and to lie to make their point. When speaking for the subject, what is documentary filmmaker’s artistic license? The greater good? And how do filmmakers respond to attacks on their artistic licence, in producing, presenting and defending their work and within the work itself? How do filmmakers first of all police themselves, self-censor or otherwise anticipate and adapt to an increasingly hostile environment?