When I'm Actually Assembling A Scene, I

Looking At A First Assembly Is Kind Of Like Looking At An Overgrown Garden. You Can't Just Wade In With A Weed Whacker; You Don't Yet Know Where The Stems Of The Flowers Are.

Most Of Us Are Searching-consciously Or Unconsciously- For A Degree Of Internal Balance And Harmony Between Ourselves And The Outside World, And If We Happen To Become Aware-like Stravinsky- Of A Volcano Within Us, We Will Compensate By Urging Restraint. By That Same Token, Someone Who Bore A Glacier Within Them Might Urge Passionate Abandon. The Danger Is, As Bergman Points Out, That A Glacial Personality In Need Of Passionate Abandon May Read Stravinsky And Apply Restraint Instead.

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 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.

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?