This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.

There's a big link between trains and film. One of the first filmed objects was a train. The clickety-clack of the projector and the clickety-clack of the train are similar. There is the idea of the voyage - every voyage is a story. I wonder if film would have been invented without the train.

If you want to freak your cat out, stare at your cat. If you want to reassure your cat, stare at your cat, then very deliberately and very slowly blink. Like that. The cat will also deliberately, slowly blink back at you, and I almost guarantee that she will start to purr. That's a feline reassurance.

I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.

While we somehow understand revenge on an intuitive level between individuals, I do suspect that companies, assuming that people are rational, completely miss and underestimate the motivation people have for revenge.

My theory has always been, that if we are to dream, the flatteries of hope are as cheap, and pleasanter, than the gloom of despair.

Session 9' can be interpreted in different ways. You can get the sense that Gordon breathes in an evil spirit but can also be read as a much more clinical movie that shows a man who becomes unhinged or may be going mad. An inspiration was Nicolas Roeg's 'Don't Look Now.'

If we believe that the Bible is the inspired Word of God, then we shouldn't be recognizing it only as a book of historical and economic significance.