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.

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.

Unfortunately, I never played an instrument. I can't blame my parents, but I wish I had had music lessons. It's odd because I think I have a good sense of rhythm, as they say in some fields. But I don't know anything about music.

Documentary filmmaking ruins you for real life, because you learn to be extremely attentive.

Even if I know I'm going to go to a church, I don't know what the minister's going to say.

I don't like to read novels where the novelist tells me what to think about the situation and the characters. I prefer to discover for myself.