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

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 do not think that my films or films by any other filmmaker represent "THE TRUTH." I do not feel the need to categorize my films or anyone else's.

There's the internal rhythm within a sequence, and then there's the rhythm between the sequences, and that's extremely important in constructing the narrative. For example, you don't put two big dramatic scenes right next to each other. But you can use the rhythm of the transition shots; they can often serve a double purpose.

Everything about a movie is manipulation.

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

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