My goal is to make as many films as possible about different aspects of American life.

A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.

I'm too busy to be nostalgic, which is one of the reasons to keep busy. I'm not a very sentimental person.

Whether you're a newspaper journalist, a lawyer, a doctor. You have to organize your thoughts.

My goal is to make as many films as possible about different aspects of American life.

There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.

There's a literal track: who says what to whom, what are people wearing, etcetera. And there's the abstract track: what ideas are suggested by the literal. And the real movie takes place in the relationship between the literal and the abstract.