I started my creative life first as a painter, then a dancer, and when that was over, I brought my instincts for composition and musicality into the editing room. But it wasn’t until Robert Altman showed me the difference between plot and story when he yanked me out of nowhere to cut "Come Back to the 5 & Dime Jimmy Dean, Jimmy Dean" — This story happens out of the corner of your eye, kid… —that I believe I truly earned the title editor: the teller, the choreographer, the sculptor of silences, the archaeologist digging for whispers beneath the noise of the action. Among the most treasured compliments I’ve received from directors and producers are, “I didn’t even know I had that!” accompanying the delighted look of surprise on a directors face, and “I turned off the sound and watched. Every cut had a purpose.” I believe in listening for the story above all, and letting it tell me what to do.
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