“I like being connected to young people, or younger people who are trying to figure out the language of film, bringing theorists from the dawn of the art in the 20th century. There is a way you find a synthesis. You read texts by the Soviets who are discussing montage, and you have students figuring out how to put scenes together and tell stories visually. The theory becomes relevant in daily practice. It's free labor, which is pretty cool too. I think we all learn from each other and benefit from the collaborations.”