Quotes of All Topics . Occasions . Authors
I love to watch videos, and I've always liked to film and take pictures. I have an eye for really weird things that nobody thinks about. I used to make little movies about myself and then edit them on iMovie.
When I was about 19, I shot a tape of me doing magic just to people on the streets, and I would edit together all the reactions and I kept pushing this idea, and then ABC came on board and made my first show.
I edit things down, and I've got a massive dressing room in the country, and so all the things I'm not going to wear but don't want to get rid of go there. And all the stuff I want to get rid of goes to Oxfam.
I organize my closet by season, color, and silhouette, but I don't edit often enough, which causes me to hoard Hermes cuffs in Hermes bags that are crammed into my living room because my closet is overflowing.
I love the idea of leaving some of the original abstract thought in, because the problem is that when you pick up a pen you become a snob, your own worse critic. You edit yourself in a way that is non-creative.
There's editing, and scripts to read and edit, and casting, and all the elements of production that just sort of take up the normal downtime that you would have as an actor. So there's not a lot of that for me.
Trump would have us revise and edit our historical memory of 9/11, turning it from a unifying narrative of heroism, tragedy, and war and recast it to serve the political ends of a man unworthy of the presidency.
The worst thing you can do is censor yourself as the pencil hits the paper. You must not edit until you get it all on paper. If you can put everything down, stream-of-consciousness, you'll do yourself a service.
I decided to do advertising, as ad films were made in only 10 days, and started assisting Sanjeev Sharma and Mansoor Khan. Surprisingly, I was a whiz kid and soon learnt to edit films and became an expert at it.
A lot of people who are 'social media' stars aren't considered to be 'real' stars, and people underestimate the amount of work it takes to edit and upload a video every single day and document your life like that.
I just kept it real and had the freedom to do what I want. It's not designed for any age group. It's not made for radio. There are no edits. The whole album contains explicit lyrics but that's because you need it.
I really like the idea of being utilitarian. My dream is to edit down my wardrobe and be very Japanese, where you have one rolling rack and it's like your four T-shirts, your five dresses, your two pairs of jeans.
So much of comedy happens between your chin and your shoulders. Nobody tells you when you get your own TV show that you're going to watch yourself in the edit room over and over and over again. It's a tough lesson.
You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.
I think that's all you do as an actor. You give ingredients for the edit, and the edit's the stew, and they try to make a meal out of it. That's all you are. You just throw things in. This is an idea, this is an idea.
I don't type on the computer or edit. Law students who went to law school really just a couple years after I did were brought up all on the computers and that's how they do it, but I was still part of the older school.
When I was first offered the book deal, I was like, 'I am not a writer. I haven't practiced this.' My approach has been completely stream-of-consciousness, and then edit down, because that's been YouTube for me forever.
Specifically, my favorite tool in Java is hot code swapping in debug mode, meaning I can edit the code while the game is running and immediately see the results in the running game. This is super great for rapid tweaking.
Kabir sir is an extremely planned director. He knows how his film is going to look like and knows exactly what edits are to be made in the film. Thus, it helps the actor a lot when they work with somebody who is so planned.
We can't edit people's content. We have to give them a platform to express themselves, and if they say something that the government doesn't like, we can't go delete it. We can't give the guy's IP address to the government.
For action to work, you need an awful lot of coverage. Because if you do a fight sequence, you really need to be able to creed the energy in the edit or augment the energy in the edit. So you need to really, really cover it.
One of the annoyances of working for The Guardian is that, obsessed as the organisation is with its digital and social media presence and its own sense of singular importance, editors would militantly try to edit your tweets.
No one leaves the edit room thinking, 'Yeah, I nailed that one!' Everyone I know goes into their first premiere or their first screening thinking, 'I screwed up so bad. I'm sorry, I messed up.' It's just a real common feeling.
With VR, you are directing in a 360-degree environment. The biggest challenge is that the viewer can look anywhere. They might look at the the weakest moments, the very things you edit for TV. You don't control where they look.
When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing; you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.
I love to simplify and edit the contents of just about anything, but women's closets hold particular appeal to me. I edit mine about four times a year and hold a yearly 'clothing swap' to encourage my girlfriends to do the same.
Even though I studied in New York and I know the American system, I come from France where I learned that with movies in France where the director is king. There's no such thing as a studio edit. It's the director's cut, period.
What good is making a jewel if nobody see it? But cost depends on the story. To get those performances in 'Biutiful,' you need that time. You need 60 takes in a scene and a year to edit. It's not realistic to do it any other way.
When historians write the last pages of their books, and the producers of history documentaries sit down to edit the final minutes of their programmes, there is often a strong urge to look to the future and emphasise the positive.
I think I learned most from editing, both editing myself and having someone else edit me. It's not always easy to have someone criticize your work, your baby. But if you can swallow your ego, you can really learn from the editing.
To tell you the truth, I don't edit much at all. Most times, when I have finished the first draft, that's the book. Of course, I work on the page I am on until I am happy with it. I might even say that I try to state the landscape.
My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.
I guess what I'm trying to say is that writing is mysterious; you don't ever truly know where it is coming from, so don't edit yourself line by line. Don't get in your own way. Whatever is truly there at the core, that is your voice.
I get so carried away in interviews and deliver 1,500-word treatises, then find it's been reduced to something pithier but also not quite accurate. Although I imagine there are people I work with who wish they could edit me every day.
I really thought I wanted to be a lawyer, but then I had an epiphany when I was in law school and dropped out. I'd always been a journalism junkie, but I'd never had confidence to think that I could actually edit or write the stories.
When we started doing sketch comedy - actually in '91 in Chicago - making your own videos, which we did, took forever. It would take like, a year to make one video. It was just so difficult to edit and just do everything you had to do.
I've always wanted to be a director; it's just how my mind has always worked. If I hear music, I see music videos and all the shots and setups to edit it all together. If I interact with a person, I'm seeing a whole scene come to life.
They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.
Well, there are three different processes of making a film, of course. They're sort of re-written three times. You write it to start with, and then you shoot it and you re-write it while shooting and you sort of re-write it as you edit.
To do more of a concert thing, it takes so much preparation. You don't just show up and wing it. You're putting countless hours in the studio, not just to write and produce stuff, but to come up with edits and special things for the show.
The text illustrates the pictures - it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it's easier to edit words - I use text as grout in between the tiles of the pictures.
Everybody hates to edit my film. Back in the day, we called it film - now, my digital cards. But I shoot an awful lot of pictures. I don't want to hesitate, because I believe the moment is everything in a picture. So, I take the pictures.
You go to the edit room and see one scene which has come out fantastically, and you feel the film will set records. By evening, you look at the budget figures or something that hasn't worked out and ask yourself - what if this doesn't work?
A kid now can practically record a song or edit a short film on his way to school. I think that will produce, perhaps, more less-interesting things - or you'll have to search more to find the interesting things. But I also think it's exciting.
I come from theatre, and I feel like I have to go back to it every few years because it's like nourishment for the soul. And, as an actor, it's the place you have most control: no one cuts or edits you, and you get to tell the story each night.
I feel sorry for people who have to edit me. Which is why book writing is by far the most enjoyable. Really the only thing it's based on is whether it's good or not. No book editor, in my experience, is getting a manuscript and try to rewrite it.
I just ended up focusing on film editing as I was getting my career started. I'm very passionate about editing and will continue to edit for the rest of my career, but it's not like that was all I did and then somehow I grew into directing a movie.
Perhaps, despite my objections, the success of films like: 'The Help,' 'Django,' 'The Butler,' or '12 Years a Slave,' will further persuade Hollywood to widen its view and edit its erroneous perception of what a commercial black film can look like.
You know how everyone - there's this maxim that we all become our mother or we all become our parents. And, generally, I really wouldn't mind becoming my mother. I really like her, so I wouldn't mind becoming her. But I definitely need to edit her.
A lot of people in Nashville think that the best song is the catchiest or the one that sells the most copies. They're editing songs in a way that make them seem more consumable, I guess. I'm trying to edit them in a way that makes them more honest.