It combines so many other art forms, as do theater and opera, but the essence of cinema is editing. It’s the combination of what can be extraordinary images, images of people during emotional moments, or just images in a general sense, but put together in a kind of alchemy. A number of images put together a certain way become something quite above and beyond what any of them are individually. This, of course, was one of the elements of the Eisenstein film that was so exciting. How the editing was able to take — that’s always fascinating — take this, and this, and put it together, and have something come out that was neither of those two things. Of course, the sense of rhythm that editing can do! I was struck, I remember, on Ten Days That Shook The World, how although it was a silent film, there were sequences where you actually almost could hear the machine guns firing, because of the way it was edited. So it’s a form of alchemy, of magic, that is very appealing. I think cinema, movies, and magic have always been closely associated. Because the very earliest people who made film were magicians. One of the aspects of it was the idea of an illusion, a magical illusion, in the early days of movies.