Quotes of All Topics . Occasions . Authors
With film, so much is in the director's hands. Once something is cut together - unless you're in the editing room - you don't really remember what the alternatives are.
Even Jack Kerouac, who famously said, "First thought, best thought," benefited from editing. His earliest works are the most edited, and they're the best of his writing.
I think what holds people up in creative processes is the expectation of what it is they're doing. It's also the sense of judgement, you know, people editing themselves.
Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting.
I was not raised with films. And when Alain Resnais did the editing on my first film, he said, 'You should go to the Cinematheque.' I didn't even know we had one in Paris.
I really am a strong believer that with editing, it should take a long time. Even you yourself are not capable of making the right decisions; sometimes you need a distance.
I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.
I always said it was a privilege to end up on the television. It wasn't my ambition; I fell into editing magazines and writing about cars, and then I ended up on the telly.
Evolution advances, not by a priori design, but by the selection of what works best out of whatever choices offer. We are the products of editing, rather than of authorship.
Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.
While there are certainly food-focused content out there on the Web and on TV, most of this content need to weave through many layers of editing before it reaches the viewer.
'The Newsroom' is phenomenally bad good TV. Sam Waterston and Jeff Daniels and Emily Mortimer are all terrific! So is the production, and the direction, and even the editing!
I'm proud of the way I rearrange and put things together, like a chef who makes a great meal, or a filmmaker who puts together a story - it's casting, editing, cinematography.
For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.
When I do a still picture, I'm doing it all by myself with no help. I'm designing everything. I am my own art director. I'm doing everything. I'm directing, editing, whatever.
It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.
Sometimes you just create a joke out of thin air in the editing room. So I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.
My dad grew up as a computer programmer, so he always had random computer software, and I started opening up editing software at age 12 and figuring out how to build websites.
Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.
There were times in 'Adaptation' during the editing where I really thought, 'Okay, well, this was a noble failure. I tried to do something good, but this is not going to work.'
I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.
It's hard for people to understand editing, I think. It's absolutely like sculpture. You get a big lump of clay, and you have to form it - this raw, unedited, very long footage.
So, while I gave up the notions of publishing at that time, I never stopped editing and refining that book. A few years later, in 1987, I thought I had it ready to go out again.
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
I'm really happy to have the chance to talk about the editing process. It's something that I think doesn't get the weight it deserves, especially with the rise of self-publishing.
Artistry is important. Skill, hard work, rewriting, editing, and careful, careful craft: All of these are necessary. These are what separate the beginners from experienced artists.
In a way, editing is not unlike the movies. The best books, just like the best movies, are a collaboration. They're only as good as the compromise made between the artists involved.
If you're writing a screenplay for a feature, you don't have any involvement with the casting process, the editing process, the set design, the costume design, or any of that stuff.
I'm sitting there for hours editing the vids myself. But I have a PR company and a management company. I use some editors for some of the cooking videos because they can be so long.
I wrote my first book when I was 15 years old. And my second book '1,2,3 Publish Me!' shows everyone how writing a book is done in just the three secret editing levels I discovered!
Once you sign on as an actor, you know, you don't go to the editing room, you don't see how they cut, you don't see how they score, you don't see how they cast the rest of the movie.
When I watch the movie, which is I don't know how many times I've done now with editing and everything, I walk out giddy just because I feel like that's the movie that I want to see.
Writers are in control of editing processes - making a sentence better, cutting out a paragraph. But the initial outpouring has very little to do with conscious control or manipulation.
As a loyal believer in the Auteur Theory I first felt editing was but the logical consequence of the way in which one shoots. But, what I learned is that it is actually another writing.
My undergrad degree was in graphic design, and I don't work in that anymore, but I obviously do a lot of design and editing and Photoshopping, and the Adobe Creative Cloud is essential!
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command.
This whole blogging stuff has been bugging me for years. Talk about no filter on things. People feel free to do and say whatever they want with no vetting, with no editing, with nothing.
Film editing is now something almost everyone can do at a simple level and enjoy it, but to take it to a higher level requires the same dedication and persistence that any art form does.
I'm a student. I want to do better, and I want directors who can find the actress in me and be my teachers. I'm interested in the whole process of editing, post-production and direction.
Although Patterson Beams was not my first plug-in, I knew from the beginning that I would write it, because the single biggest time consuming factor for me was editing each beam manually.
Basically, I composed the musical structure in one pass. The rest was editing and small adjustments. And when the play was read by actors with the music, the sequence timed-out perfectly.
I would bring Patti [Smith ] in to the editing room [working on the Dream of Life] and say, "This is a great moment for a voiceover, or a poem," and then we'd bring in some sound design.
With all editing, no matter how sensitive - and I've been very lucky here - I react sulkily at first, but then I settle down and get on with it, and a year later I have my book in my hand.
I don't shoot movies quickly because I get a lot of coverage and a lot of angles, so we have all the pieces in the editing. I do a lot of takes, but it's because I'm looking for something.
In 'Serena,' stuff happens, then nastier stuff, without ever engaging the viewer's rooting interest or sick fear. Sometimes it's a question of sloppiness on the set or in the editing room.
I'm the third generation of my family in the film business, and I grew up with a deep passion for movies. I made my own Super 8 films when I was a kid and always loved the editing process.
Whenever I'm not shooting, I'm in the editing room with my footage. While the crew is taking 15 minutes to an hour to set up the next shot, I'm behind the Avid, putting the flick together.
Editing requires you to be always open, always responding. It is very important, for example, not to allow yourself to want the writer to write a certain kind of book. Sometimes that's hard.
I spend a lot of time in preproduction working with authors, and a lot of time in postproduction.: editing, music, all that sort of stuff. Casting. On the set there's not a lot for me to do.