Quotes of All Topics . Occasions . Authors
As for making video comedy, pretty much anyone can do it. When I got started, I just filmed it with my webcam and used iMovie to edit the video, which I still use.
I wouldn't ever do a radio edit because I feel like it would totally go against the point of 'Follow Your Arrow.' I just think you're going to like it or not like it.
It is important for poets and writers today to know their shortcomings, and be able to edit their own work as well as reject them if they are not up to their standards.
That's the only way to do it. Just like an actor. You can get a great performance if you do a bunch of takes and edit it. You find the moments and string them together.
People try not to think about what's going on in sub-Saharan Africa. They edit it out of their daily lives. Especially Americans. We prefer a fantasy version of Africa.
There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.
I was very much fascinated with the technology we had that we could edit in the computer our compositions, but all the sounds that were available on the market were crap.
TO preach a sermon or edit a newspaper were the two things in life which I always felt I could do with credit to myself and benefit to the world, if I only had the chance.
Stand-up is still my job. That is the thing I wanted to get into when I was 21. You cannot beat the immediacy of it, making people laugh without any interruptions or edits.
Of course no documentary is completely 'objective.' Every decision you make - who to interview, how to edit, where to hold the camera - imposes a point of view on the film.
Shouldn't a three-course meal be 90 minutes? Do you know how hard you have to edit your menu to pull that off? Twenty-seven minutes. That's the average meal at Jiro's in Tokyo.
I'm homemade. I upload my videos in my living room; I edit everything, and I upload on my laptop. And my viewers love that about me, and they get inspired and do it themselves.
I love improvisation. I mean, it's hard to edit, because things don't necessarily fall together - you have to find ways to give it a dramatic scope, shape. But it's so much fun.
And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.
Miranda is extremely tacky. I personally want to edit my videos well, but I have to keep Miranda's character in mind, so there are bad angles, flashy cuts, and sparkles everywhere.
The first thing I do in the editing room is the 'radio edit,' where you listen to the dialogue and don't even look at the visuals. The rhythm, the music of the comedy, has to work.
The trouble is, the older you get, it's hard to find time to make a film: it's a year to write, a year to get money, a year to make it, a year to edit. It's four years of your life.
I tend to edit some as I go - partly because one of the reasons I don't outline much is that I don't know what the next scene will be until I've actually written the previous scene.
You have to edit it, mix it, color grade it, there are processes and the audience doesn't care when they binge-watch a show. They think in four weeks you should get the next season.
We can't make movies without scripts, and there's no cost to writing a script, so my advice to newcomers is do it yourself: Write your own script, shoot your shorts, edit your shorts.
I never edit the songs that come out. And they tend to come out as a whole. The closest thing I have ever done to editing them is just cutting out a verse, but never rewriting lyrics.
I don't want to be an editor! I don't want to direct; I'd be a horrible director. I don't want to write - I have a 'story by' credit on one film I did. And I don't want to edit at all.
There's something about taking a film from concept to script, through production, and then to see the final thing happening in the edit phase. It's almost like a miracle in the making.
Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.
The storytelling in a movie is in the cut; it's in the edit. It's not an actor's job, really. Your job is such a tiny little thing, and I love the feeling of juggling or tightrope walking.
I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.
I shoot a scene, edit it, and then, two days later, I doubt whether or not it has turned out right. I reshoot a small part of it, go back to the first edit of it, and do all sorts of things.
When I edit, I'm not from the school of Hello, I'm a genius, so everybody shut up. I'm from the school of Let's play it once in front of an audience, and then I'll tell you where it is going.
Every year we are greeted by a host of new apps that will 'change the way we think' about ordering takeout, 'fundamentally transform' our shoe purchases, or 'revolutionize' the way we edit photos.
Regular panelists on shows can be terrifying. They own that space, and many guest comics suspect they are favoured in the edit, while their own hilarious jokes end up being ejected into the ether.
In the media age, everybody was famous for 15 minutes. In the Wikipedia age, everybody can be an expert in five minutes. Special bonus: You can edit your own entry to make yourself seem even smarter.
Later, in the afternoon, I read what I did that morning. It's almost always a surprise. But I can read it rationally; edit, polish, re-write, and think what I might do tomorrow in the early darkness.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
My best capacity is to edit. If anything, I am a specialist at editing: my usual approach is to record a song very long. In the beginning just jam, jam on and on. Then break the song and play with it.
With everything that I've done with YouTube and podcasts for so many years, it's been: you can record it, edit, and then upload that day. With the book and documentary, it's been such a longer process.
The thing with TV and filming is the timing is all faked anyway. You do it so many times, from so many different angles. You never really do it all in one go anyway, so they just fix it all in the edit.
It's hard to edit. It's hard to stay focused. And yet, we know we'll only do our best work if we stay focused. And so, you know, the hardest decisions we made are all the things not to work on, frankly.
If you want to edit your photos and make yourself look different, go for it. That is up to you, but in my opinion, you should always post things that you think do a good job at representing who you are.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
I'm certainly treated differently to the boys in the band. People make assumptions about what I do and don't do within our projects. We produce our music together and I direct and edit the music videos.
First, I'm trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.
TV and film taught me to think cinematically. Teaching others to edit, for example, provides a great deal of insight into the millions of ways in which given elements can be put together to tell a story.
I know my audience, and they, in turn, know my cinema. When I pick a subject, it's for a family audience. I shoot and edit my films keeping them in mind. I'm dead sure about the product that bears my name.
Showrunning is when you're the constant creative voice in the show. For a year-and-a-half, you are working on the scripts, you're fine-tuning them, you're the final say on the edit, the music and the cast.
I keep only a small edit in my wardrobe because I think it is important to keep things moving through, and I like to find out which pieces from my collections work and which could be reworked and improved.
I am atheist in a very religious mould. I'm always asking myself the big questions. Where did we come from? Is there a meaning to all of this? When I find myself in church, I edit the hymns as I sing them.
Anything can happen in SF. And the fact that nothing ever does happen in SF is only due to the poverty of our imaginations, we who write it or edit it or read it. But SF can in principle deal with anything.
In doing everything, from coming up with the ideas and putting them on paper till doing the final edits, you are always thinking the next three steps, you're always thinking what next, what next, what next?
Mostly, I am waiting. Got to finish the edit, I am waiting. Dubbing must get over, I am waiting. Waiting for shoot. Waiting for the set. When you are waiting, your mind isn't relaxed enough to watch a film.
I cannot state enough how important post-production is for the success of a horror movie. You bring so much to it with the way you edit it, the way it is sound-designed, and the way the music works with it.