[on what Ján Kadár taught him while at AFI] What he used to make me memorize was the shots. He'd say, "Ok, learn that movie!" - by learn that movie he meant; you sit down with a bunch of pile of paper and pencils and write - shot for shot - the movie from memory. I learned a bunch of movies that way. I learned Achteinhalb (1963) that way which is a very complex film. I learned Uhrwerk Orange (1971)...his notion was that if you really wanna become a filmmaker, you have to get that conversant. You have to be able to carry that much in your mind. If you want to be a world class musician, instrumentalist player of something; piano, or violin or something. You'd have dozens maybe hundreds of scores, you'd have hours of music in your mind! You'd never need to look at the piece of paper, all those hours would be in your mind! And you couldn't possibly be good enough unless you had done enough work to put all that music in your mind. So that you would just be able to sit down and call up note for note some piece of Mozart or one of the classics of your profession. And his notion with me - because the way he put it he just said "You have eyes, so you better learn to use them". Instead of thinking of movies as print - which is the way they're always approached; a pile of paper. It's always the events and the words that will be spoken. Instead of thinking of movies that way, he made me learn to think of movies as a chain of images where you would fashion the entire chain of images. Just like a music student could hold a concerto in his mind, you should hold the movie in your mind; the images - never mind the words, the images - "Where is the camera for that shot. What kind of lens was it? What was the camera doing?" - on every shot.
