Every film is a puzzle really, from an editorial point of view.

As I've gone through life, I've found that your chances for happiness are increased if you wind up doing something that is a reflection of what you loved most when you were somewhere between nine and eleven years old.

Every film is hard work, and a few lucky people do get Oscars for what they do, and it's recognition for all that hard work on a certain level. If you didn't do the hard work, you wouldn't be standing there. On the other hand, people do a lot of hard work and don't get Oscars, so it's a mixture of glory and injustice at the same time.

There are two kinds of filmmaking: Hitchcock's (the film is complete in the director's mind) and Coppola's (which thrives on process). For Hitchcock, any variation from the complete internal idea is seen as a defect. The perfection already exists. Coppola's approach is to harvest the random elements that the process throws up, things that were not in his mind when he began.

Film editing is now something almost everyone can do at a simple level and enjoy it, but to take it to a higher level requires the same dedication and persistence that any art form does.

Every film is a puzzle really, from an editorial point of view.

You can always make a film somehow. You can beg, borrow, steal the equipment, use credit cards, use your friends' goodwill, wheedle your way into this or that situation. The real problem is, how do you get people to see it once it is made?