I'm interested in ordinary experience, and regardless of the precise definition of ordinary, and I've found that in so-called ordinary experience, there is as much comedy, tragedy, sadness, as there is in great drama. And I don't invent it, I recognize it.

Everything about a movie is manipulation.

Paris is a beautiful city to walk around in. And, you know, all the obvious things: I like the museums, I like the theater, I like the dance. And it's manageable. The food's good. I know a lot of interesting people here. I lived in Boston for 50 years or more. Wherever I am, I'm usually holed up most of the time in the editing room, and so, when I leave the editing room, even if I just take a walk, it's gorgeous. And I walk everywhere. I'm a victim of the seduction of Paris.

Of course there's conscious manipulation! Everything about a movie is manipulation ... If you like it, it's an interpretation. If you don't like it, it's a lie - but everything about these movies is a distortion."

In moviemaking, you learn to pay attention to detail, because so much is in the detail. And when you're shooting, you try to be very alert to what's going on, even if you're tired.

It is always a problem to know what an image means.

You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.