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.

I'm very careful of not being critical of other people's movies, which work in different styles. I think some of my movies can be interpreted as critical of their subjects.

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.

Making movies is an effort is an attempt to leave a trace of your existence.

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."

I'm in no way suggesting that I succeed, but it's inspiring to read somebody who does succeed and from whom, in a general way, you can draw examples and nourishment and sustenance.

I think my movies aren't sentimental. I think my movies are funny and sad and realistic. Not realistic in the sense that they're documentaries, but realistic in the sense that they're not idealistic, they're not optimistic, not pessimistic, and not propagandistic. They're an analysis of a situation. I call it as I see it, so to speak.