Quotes of All Topics . Occasions . Authors
A film ingeniously directed does indeed give the impression of having been laid end to end, but a film ingeniously edited gives the impression of having suppressed all direction.
As an actor, I can only do my job well, but in a movie there are a lot of other things that matter too - like how it is edited and promoted and the works. Those are not in my hand.
Chiki Sarkar edited 'Mrs Funnybones,' and she is a ruthless but kind editor to work with. The only lesson I learnt during this process was to say, 'Yes, Prime Minister,' and re-write.
Female movie stars from the pre-Code era of Hollywood, like Mae West, could be so raunchy and witty before they were edited. Sometimes they could go further in their wit than we go now.
I think you can learn a lot from primary sources. 'The Penguin Book of Witches,' which is edited by novelist Katherine Howe, is a wonderful compilation of primary sources about witchcraft.
This is where you see the truth of entertainment, because it is not edited. You see it on stage as it is happening. Even if we fall down or forget our words, it's a part of live entertainment.
I have like 250 letters that I have to whittle it down to 150. Only then do you have the whole overview of a book. When it was finally edited, at least my take was, everybody's lying. You know?
At a magazine, everything you do is edited by a bunch of people, by committee, and a lot of them are, were, or think of themselves as writers. Part of that is because magazines worry about their voice.
Watching the completed version of The Two Towers for example, I was very conscious of scenes - sometimes whole sequences - that I had seen being filmed or edited but which hadn't made it into the final cut.
It is hard to watch myself. I'm hypercritical, and it's difficult to watch a performance when I may end up being at odds with it - wishing I'd done something differently or that they had edited it a certain way.
The Braintrust developed organically out of the rare working relationship among the five men who led and edited the production of 'Toy Story' - John Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, and Joe Ranft.
Television is a very highly constructed, and edited, and censored, and tailored, and marketed reality. But I'm not judgemental about it. I don't have anything against television. I just personally don't feel curious.
I love radio, but it's a very limited thing today. Everything has to be edited down to 3:59, and too bad if I didn't make my statement in three minutes and 59 seconds. Everybody's song has to make its point so quickly.
Several elementary school teachers had described me as a 'future authoress or poetess.' Mother took me to meet Chicago's leading black librarian, who published a poem of mine in the magazine she edited for Negro children.
I went to a large consolidated school in Appalachia. And I wrote the story when I was in the second grade and I took it up to the third floor to the school newspaper office that was written and edited by juniors and seniors.
Some of our early work was two minutes twenty when it actually came out on vinyl, very, very, very short. Sometimes if you made a three-minute record they would make you do an edited version for radio, particularly in America.
'The Dublin Magazine' has been edited with good taste, and it is very agreeable reading, but to speak quite candidly, I do not believe in the future of any literary journal any more than I believe in the future of the Trinity.
I'm not a good storyteller. I always think I'm going to get interrupted, or something's going to get edited. I think that comes from being in a large family, so you have to get your story in really quick or someone cuts you off.
I love memoirs and biographies, learning about other people's lives. Two of the ones that I loved so much were actually edited by the same person who edited my book, too. I loved 'Angela's Ashes.' I loved 'Glass Castle' so much.
People equate health to a picture in a magazine of a 6-foot-tall thin woman with her skin rolls Photoshopped and her waist edited to be tiny, so when they see bodies that jiggle and move around like they do, they assume it's wrong.
I was disappointed with 'My Friend Pinto.' Everyone put a lot of effort into it but the final product was something no one was ready for. The story was altered and a lot of scenes were edited. I got a lot of flak for my performance.
In principle, I think the idea of rewarding a good effort is interesting, but movies are generally different from each other as are performances and the conditions on how the performances are given and how they're edited and so forth.
Anyone with an inbox knows what I'm talking about. A dozen emails to set up a meeting time. Documents attached and edited and reedited until no one knows which version is current. Urgent messages drowning in forwards and cc's and spam.
But now with technology I could sit down and do a bunch of character drawings and scan them into a computer, and the computer using my exact style could bring it into life, where it would have been edited by various human beings before.
So when I looked at pictures and produced my calendar and edited the pictures, it wasn't just about looking at myself and thinking I'm attractive. I try to take myself out of it and get into the whole process of putting it all together.
I've written tons of scripts, and when I wrote 'The New Girl in Town,' I read it to my parents, and they suggested I make a movie out of it. I got a few friends together, and I shot the movie in one weekend, and then my mom and I edited it.
I was in a movie called 'Before & After' with Meryl Streep. I was edited out of the movie, but no one told me. I think I was 18 or 19 years old. I sat across from her and asked her every question about acting. I completely embarrassed myself.
I am not altogether confident of my ability to put my thoughts into words: My texts are usually better after an editor has hacked away at them, and I am used to both editing and being edited. Which is to say that I am not oversensitive in such matters.
'The Conversation' was the first film I edited on a flatbed machine - a KEM editing machine. I've been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way.
My manager and fellow YouTuber, Mike Lamond, encouraged me to start a YouTube channel as a way to practice speaking, entertaining, and being more comfortable in front of a camera. In the beginning, I used an $80 dollar flip-camera and edited every episode myself.
While we can all access articles and information in so many places now - across blogs, in newspapers, on video - there is something very powerful about putting it all together into an edited format in a single issue that has a narrative stretching across the themes.
When I realized I wanted to do more writing and less traveling around the world teaching live seminars, I decided to write the first 'Chicken Soup for the Soul(R)' book. I knew I wanted to have 100 stories in the book, so I wrote or edited two stories a week for a year.
Whenever I think about movies, I always look at that art process as having the best of a lot of worlds. Because if you watch a great film, you have a musical element to it, not just on the scoring, but in the way that the shots are edited - that has music and rhythm and time.
We went from journalism, in newspapers that gets heavily edited, to blogs, where you can express your opinions, to tweeting, where you can say anything, and it gets repeated and becomes fact when it isn't. It's something the entire world is going to have to come to grips with.
Sometimes you write music to a script or while a film is being edited. Sometimes I write without seeing any images, but that's rare. The approach is often based on practical decisions, but I'm interested in the narrative and physical space that music can occupy in a film or play.
In 2009, I edited, under the aegis of the Library of America, an anthology called 'Becoming Americans: Immigrants Tell Their Stories from Jamestown to Today.' It featured immigrants from different backgrounds, from black slaves like Phillis Wheatley to Yiddish-language speakers like Henry Roth.
Mainly, I hope to inspire honesty. We live in a space where so much can be manipulated, and so much is expected to be manipulated - curated, contrived, edited. I think that's a real detriment to self expression and happiness in a lot of ways. In my mind, honesty and vulnerability is the way forward.
Having your book edited is like watching your cat being operated on. It's uncomfortable and someone is probably going to get hurt. Most likely the cat. But in the end, things work out for the best and your cat is better it. And then your cat gets released in hardcover, and you have to read all of his reviews.
Most actors hate readthroughs - they're exposing themselves before they're ready to, and before they've bonded. But I love them because they give us all the first inkling of what the whole show is going to be like, how each part affects every other part, and we won't see that again until it's all edited together.
I made so many films I thought were great and they turned out horrible, and I made films I did not believe in at all, and 'Shadow Of The Vampire' was one of these films I did not believe in during the shooting. And then when I saw it I was surprised what they had made out of it. They edited for quite a long time.
The short film project I just finished for W Hotels and Intel, I didn't have my script finished until a few days before we began filming. We edited it very quickly and now it's up online. It was great to conceive an idea and have it premiere just a few weeks later, compared to a feature, which takes a year or more.
'Smoke On The Water' was ignored by everybody to begin with. We only did it in the shows because it was a filler track from 'Machine Head.' But then, one radio station picked up on it, and Warner Bros. edited it down to about three and a half minutes. It then started getting played by lots of different radio stations.
It's an odd experience reading interviews with yourself. Interesting, though. Of course, you know that the journalist will have edited, rephrased or even rewritten what you actually said, but you can't help feeling that there's a special kind of truth in the way someone else paints you, however subjective they might be.
The White Company offers its loyalists an altogether better, whiter world. The White people have edited out any colours that aren't white, off-white, milk chocolate, grey, taupe or black. They can't be doing with Johnnie Boden's cheery Sloane jokes, his spots and stripes, his occasional 'if it's me, it's U' loud colours.
There's a gap between what I want to do, what I do on camera, and what gets edited. Right? So the goal is to try and close the gaps. What's the biggest compliment is if I read a review and it's exactly what I wrote down in my diary before ever filming it. That's really cool. That's the biggest signifier of closing the gaps.
For me, my core genius lies in the area of teaching and motivating. I love to do it, I do it well, and people report that they get great value from it. Another core genius is compiling and writing books. Along with my co-author Mark Victor Hansen and others, I have written, co-authored, compiled and edited more than 200 books.
I was well acquainted with the Calcutta literary circle since I was 17, when I lived in Bangladesh and published and edited a little magazine called 'Sejuti,' for which young poets from both Bengals wrote. If you look at my life, there is no question of using anyone for anything. I have only got banned, blacklisted and banished.
You know what it is, the reason so many 18-year-olds, 19-year-olds are saying 'Drive' is their favorite movie is that 'Drive' is a 90-minute trip into what a lot of seventies filmmaking was. It encapsulates the best of a certain kind of style, and a style that a lot of people haven't seen before, with the music and the way it's edited.
Nothing manifests more persuasively the American contradiction than that the author of the Declaration of Independence, a slave owner, wrote an antislavery clause into the document - as if to compel himself to be better than he was - which then had to be edited out so the Southern states, including Thomas Jefferson's own, would sign it.
I re-mastered 'The Conversation' a few years ago for DVD. 'The Conversation' was the first film I edited on a flatbed machine - a KEM editing machine. I've been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way. Truth be told, I couldn't.