the final cut of in the mood for love, every single frame

golden hour on mulholland drive, the real one, not the movie

thelma schoonmaker's editing on raging bull

the new beverly cinema

my avid rig at 2am, just me and the timeline

dosas from saravana bhavan on a sunday

agnes varda

the criterion collection, the physical discs, with the essays

that cut in lawrence of arabia where he blows out the match

griffith observatory at night

a. r. rahman's score for bombay

my amma's sambar, which i've never been able to replicate

the moment a rough cut starts to breathe

the patience required to find the right frame to cut on

barry jenkins, everything, but especially the dinner scene in moonlight

driving pch with no destination

nusrat fateh ali khan

the idea that editing is writing with images

my father, a projectionist in chennai for thirty years

the aero theatre in santa monica, the late shows