And that was also when you brought Thelma Schoonmaker back and were able to work with her again. Was reconnecting with her on a professional level, did that flip a switch for you, too?

Well, it's complicated in that I'm from New York. I come out of independent cinema. I may love and be inspired, and still am, by American classical Hollywood cinema, by European, Asian, etc., but I don't do that. I mean I thought for a while I could, but I don't. And so I come out of a tradition in the late-'60s — that was becoming a tradition, I should say — that was really spearheaded by independent filmmakers here and documentary filmmakers on the East Coast, some on the West Coast, too, but mainly on the East Coast. As far as narrative cinema is concerned it was, really, you go to Cassavetes and Shirley Clarke. And they were involved in the editing of their films.

In Hollywood, it was different, and I found that I certainly was not welcome in the editing room. I was making a living as an editor with Roger Corman and others out there at that time around '71, '72, '73, right before I made "Mean Streets." And so basically I was working as an editor, but I was non-union and for some reason I decided not to try to be or get in the union. First of all I didn't know how to, you know? But I was supervising a lot of montages, they called it, and editing films feature films for Roger Corman.

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