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.

When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing, you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.

What's the shelf life of a 1931 movie? If it still exists, there will always be film buffs and a niche audience who will want to see it. But in terms of people even understanding in common usage, some of the words we use to describe these movies, I don't know how long that's going to last.

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.

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.

A lot of filmmakers from my generation were lucky enough to have their work more or less perpetuated by people who saw them originally on TV and on HBO and certainly on home video.

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.