The word processor is a better tool than a quill pen because you can do so much more with it, but on the other hand, what you have to say and how you say it is the ultimate determination.

The Conversation' was the first film I edited on a flatbed machine - a KEM editing machine. I've been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way.

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

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.

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. [...] At that age, you know enough of the world to have opinions about things, but you're not old enough yet to be overly influenced by the crowd or by what other people are doing or what you think you 'should' be doing. If what you do later on ties into that reservoir in some way, then you are nurturing some essential part of yourself.

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?

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.