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.

One's relationship to time is complicated, and sometimes a day will drag on forever and sometimes it'll be over in a flash. When you look back, "I'm old," after 40 or 60 years, I can't believe I'm as old as I am.

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

Everything about a movie is manipulation.

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'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.

This whole business of documentary being a second-class citizen is bullshit. A documentary can be as interesting, as dramatic, as sad, as funny, blah, blah, blah, as a fiction movie. Or it can be as awful as a fiction movie!