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.

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

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 like to read novels where the novelist tells me what to think about the situation and the characters. I prefer to discover for myself.

Everything about a movie is manipulation.

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.