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

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 think I've learned a lot about how to make movies, and particularly about how to edit movies by thinking about how similar problems are resolved in other forms. The issues in all forms are the same in an abstract sense, aren't they? Characterization, abstraction, metaphor, passage of time... Whether it's a movie, a novel, a play, or a poem, those issues exist. And each person resolves them differently.

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.

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

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."

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