There's a way of thinking that comes with being an editor that is incredibly useful on the set. It's not just a vocabulary thing or a right-to-left thing or script supervisor stuff. It's a way of thinking about the film and the shots and the way they fit together, what you need and what you don't need, and what you can get away with if you have to.

It's very hard to have lived through the Sixties and not be political.

Repetitiveness is one of the things that's most difficult to get away from in genre pictures, because people come specifically to see certain kinds of things but get disappointed if they're presented in the same way. So to try to find a new way to show old stuff is always the challenge.

I think that anybody that wants to direct, particularly writers, should spend some time in an editing room, whether it's a film of theirs or someone else's, or shoot their own picture on video and cut it.

Daffy, of course, wants to go on the journey with him but the studio decides they want Daffy back, so Bugs and a young studio executive heroine have to go out and try to bring him back.

It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.

One of the things I've always tried to do is to inject myself as much as possible into the movie, so I feel like it's mine.