I don't really know what I want, other than good sequences, whatever that means. What I find is always a matter of chance, judgment, and luck.

I think I have an obligation, to the people who have consented to be in the film, to make a film that is fair to their experience. The editing of my films is a long and selective process. I do feel that when I cut a sequence, I have an obligation to the people who are in it, to cut it so that it fairly represents what I felt was going on at the time, in the original event. I don't try and cut it to meet the standards of a producer or a network or a television show.

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.

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

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

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

It is always a problem to know what an image means.