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.

You do form a cadre of people that you trust and who are good at their jobs and who know you and what your quirks and foibles are. It makes making movies very collegial and a lot more fun.

I don't believe that you can judge the worth of a movie in the atmosphere in which it comes out the first time. There's just so many reasons why some pictures don't catch on.

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.

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.

There's so little difference between television and features as far as you make the film. I mean, you have less money and it's a little quicker, but the concept is all on television.

If you're doing a family movie, you don't want it to be stupid. Farting chihuahuas is not my idea of entertainment for kids or adults. So you try to make a movie that adults can see on one level, and kids can see on another.