When cutting documentaries or anything long-form, it's of the utmost importance to get the clay on the table. Pull the film from the shadows of everything it might be and place it in the light of what the thing will be. Only then can you start to edit. Spinning wheels in the shadow dreamlands of hopes and desires will do you, your director, and the film a disservice. Tho I tend to hate the saying (or the way it's often used), at this stage of the process, perfect is the enemy of good. Save stress, overthinking, and editing for later. The sooner the clay is on the table the sooner the real work can begin, so for now, get the clay on the table.