With the exception of a few directors, like David Lean, most people have their film edited by film editors as they go along.

And then when the film is done, they look at the film and dictate some notes about it, and the film editor tries to do what they say say and then maybe they look at it again and they do it again.

But basically it's like trying to, say, redesign a city by driving through it in a car, you know.

You can notice a few things and say, you know, put that traffic light in the middle of the street or those buildings over there like kind of shabby or something.

But if you really want to do it right, you must do it yourself, you know, piece by piece.

So I think by now I have enough sort of ability to imagine the way a scene will come out so that I can tell

without editing the material if I have enough film coverage and you know what I can do with it

and then I I edit the film with the editor myself when the film is when I'm all finished

I don't know what led me to make any of the films really that I've made.

I just became interested in them when I read them or when I thought about the subject.

It should be an interesting story. The character should be interesting.

It should offer possibilities for cinematic beauty in terms of

photography and editing and visual things. It should give the actors opportunity to display emotions,

and it should be, in the end, truthful and honest in dealing with the thematic material.

In the end, you know, it does become this very indefinable thing like, why do you find

one particular girl attractive or why did you marry your wife? But at the same time, I've never

been certain whether the moral of the Icarus story should only be, as is generally accepted,

don't try to fly too high, or whether it might also be thought of as

forget the wax and feathers and do a better job on the wings.

The New Beverly Cinema Presents the Pure Cinema Podcast.

My name's Brian Sauer.

I am joined, as always, by the studious, Mr. Albert Kane.

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