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 drawn to making movies about contemporary life. The reason I choose institutions is because they provide a limit, a boundary.

I'm too busy to be nostalgic, which is one of the reasons to keep busy. I'm not a very sentimental person.

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.

It's rare in a documentary film that you have a repetitive act. So when you do, you can shoot it in different ways so that you have more choices when you're sitting down to edit that sequence six months later.

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.

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.