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When I left high school, my dad was directing a film, and I went to work for him as a P.A. There were two wonderful editors, Bud Isaacs and Bernie Balmuth, working on the project, and every chance I had, I would go to the editing room to watch and learn from them.

From Christopher Rouse

If you can depict situations and explore life in a truthful way and explore areas of grey - because that's where the truth lives - and you can do that in an objective way and allow people to take from that what they will, I think it's a satisfying sweet spot with storytelling.

From Christopher Rouse

Everything else - music, cinematography, costumes, design, acting - can be judged at face value. But when you're looking at editing, you don't know what the totality of the material was, and you don't know the working dynamic between a director and an editor - whether the editor was micromanaged or given free rein. It's very difficult.

From Christopher Rouse

I'm the third generation of my family in the film business, and I grew up with a deep passion for movies. I made my own Super 8 films when I was a kid and always loved the editing process.

From Christopher Rouse

I think I approached 'Captain Phillips' as I would any project. I always try to understand the story, characters, and themes as deeply as possible and then work as hard as I can to make those things come to life.

From Christopher Rouse

I've written under the radar for quite some time, and I always looked at editing as writing.

From Christopher Rouse

My father always told me that story was first and foremost. We would watch not just his films but a lot of classic American films. My father was a great David Lean fan, and David Lean's one of my favorite directors. We would discuss films endlessly.

From Christopher Rouse

Christopher Rouse

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