The movies that I hang onto the most are the ones I can’t quite get out of my system because they’ve dug their claws into me. It’s something about the synthesis of all these mediums that are coming together in one. And then the one pure thing that is explicitly cinematic is editing, and that’s why I think I’ve gravitated towards that, because unlike every other art form—music is just auditory and paintings are visual, but you can look at a painting for however long you want—with film, you’re taking an image and explicitly saying, look at this shot for this long and then this one because the juxtaposition of those two are going to matter. It’s like alchemy, it excites me and fascinates me to no end. And whether it’s a romantic comedy or a really obscure experimental film, they’re both using the same language and I love seeing the interplay between those.
Film is such a new medium. I often think what would I have done if I’d been born 100 years ago, and I think that people have always thought cinematically. You listen to composers whose music lends itself so well to movies and it’s because they were thinking cinematically before cinema existed, and that’s really exciting to me. I think poetry is the same way, it’s a very analogous medium to cinema and there’s very cinematic poetry out there that functions in its’ rhythm and its meter much in the same way that film does and the way it plays out over a period of time. There’s so much opportunity in the medium and so much room to try out things and use that language in new ways, it’s great to have an art form that can grow with you as you discover new things and it can change as well.