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It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

The more nearly the film cutter approaches the natural law of interest, the more invisible will be his cutting. If the camera moves from one person to another at the exact moment that you in the legitimate theatre would have turned your head, you will not be conscious of a cut.

In the past I've worked with directors who saw very much their scene in their head and knew exactly how they were going to cut it.

There are times when you're working with film people when you have to say, 'If the camera were on you, what you're doing would be perfect'.

I enjoy editing when I'm directing, but when someone else is directing, that's their film to cut.

In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

There's only one movie in my career I've had regrets with cutting it shorter, and I think some scenes maybe I shouldn't have cut.

I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.