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.

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.

My job as a film editor is to construct a dramatic narrative because otherwise it's just a chaotic arrangement of sequences.

If I worked in my apartment, I'd never leave my apartment.

Everything about a movie is manipulation.

It's rare in a documentary film that you have a repetitive act. So when you do, you can shoot it in different ways so that you have more choices when you're sitting down to edit that sequence six months later.

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.