I'm Lucky That I Get To Jump

Editing Rooms Are Kind Of, By Definition, A Bubble Of You And The Editor And What You're Thinking. It's A Truth-telling Thing To Watch It Through Someone Else's Eyes, Is To Get Another Level Of Real With Your Material. Like, "maybe That's Not That Funny. Maybe That's Not As Interesting. Maybe That's Redundant To Something Else. Maybe We Can Cut Down." I Don't Know. It's A Brutal, Honest Process. You've Got To Be Pretty - You Can't Be Sentimental. You Have To Be. It's A Cold Process. You Can't Be Nostalgic. You Have To Make Those Tough Decisions.

When You're In Love, You're Asking Someone Else To Fulfill All Your Unfulfilled Needs, To Make You Whole, And To Make You Feel Good About Everything, And No One Can Do That.

It's Hard To See A Film One Time And Really "get It," And Write Fully And Intelligently About It. That's A Review. That's Not Film Criticism. And There's So Many Expectations Involved, Too. You're Going In To See The Latest Martin Scorsese Or Stanley Kubrick Film, You Really Have High Hopes, And You Can't Help But Find That It's Not Exactly What You Had In Your Head Going In. Until You Can Watch It Again, You Can't Accept The Work For What It Intends To Be. It Takes At Least A Second Viewing.

Monogamy, Monotony. There's Only A Couple Of Letters...

I Didn't Have Any Set Idea Of What Kind Of Filmmaker I Wanted To Be. I Knew I Wanted To Tell Stories That Meant Something To Me, But I Never Said I Was Going To Be The Weird, Avant-garde Guy.