Of course there's conscious manipulation! Everything about a movie is manipulation ... If you like it, it's an interpretation. If you don't like it, it's a lie - but everything about these movies is a distortion."

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

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

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.

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 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 a literal track: who says what to whom, what are people wearing, etcetera. And there's the abstract track: what ideas are suggested by the literal. And the real movie takes place in the relationship between the literal and the abstract.