Quotes of All Topics . Occasions . Authors
Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.
In editing, it's amazing how you choose the in and out points. What you cut on is everything for creating tension. It's amazing how expanding a shot by five seconds can just ruin the tension.
You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
Writing one's first novel, getting it sold, and shepherding it through the labyrinths of editing, production, marketing, journalism, and social media is an arduous and nerve-wracking process.
I think we filmed a lot of the recording and it would be nice to do something with it but you know, videos are tricky because we know how to make albums but I'm not very good at video editing .
The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.
I think Gram did his best work in co-writes. Sometimes when you're working with one other person, it's such a magical thing. You're editing each other and you're trying to create that one spark.
Each movie I make has its own heroes, and the two heroes for me in 'Arrival' are Amy Adams and Joe Walker, the editor. We worked very, very hard, and it was, by far, the longest editing process.
I believe there's a platonic ideal for every book that is written, like there's the perfect version of the book somewhere in the ether, and my job is to find what that book is through my editing.
A 3K word story might well be done in some caffeine-and-nicotine-fuelled 36 hour session, and at the end of it, there'll be a few passes of editing required, but I basically have a polished draft.
Angelo Corrao was our editor [in Dream of Life], and he was just so diligent and so old-school in the way he looked at editing. He would take my far-out ideas and tame them and make sense of them.
The lessons of slushing and editing build up over time, and you're not necessarily thinking about them while you're working, but they're in the back of your mind, probably influencing your choices.
Even if it's a "talking head documentary" about a social movement or something along those lines, I've always thought of editing the timing and the sense of the piece for the theatrical experience.
In the editing process, I delete what I do not want to use, move what remains around if necessary and add elements that I feel will make my visual statement as clear and understandable as possible.
I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.
This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.
With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'
I love the idea that the editing room is the final time you write. You should still be creatively solving problems even at that point. It's not really until you're locked that you can call it quits.
I came to a dead stop and began major revisions. Sometimes these entailed the shredding of all existing manuscript for a fresh start - an inefficient way to write a book, though I found it exciting.
Unfortunately, I am very aware of editing and I look at the monitor too much. Sometimes the monitor can become your worst enemy because you can, consciously or unconsciously, start editing yourself.
I know everything that you can do with digital processing and digital editing inside and out, but I absolutely refuse to push the buttons and don't even want to know how to load and unload the files.
I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.
The friends I knew who tutored were well paid for work that seemed far less grueling than waitressing or late-night newspaper copy editing or all the other side gigs I attempted in my early twenties.
You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.
To make a movie charming, you have to be playful on all levels and open to ideas, and you have to have an idea for how to do that within the confines of the shooting schedule and editing and all that.
Editing is very satisfying process. You spend hours working on something and then you get to watch it. It's immediately satisfying where everything else is just kind of waiting and waiting and waiting.
Forcing modern speakers of English to not - whoops, not to split an infinitive because it isn't done in Latin makes about as much sense as forcing modern residents of England to wear laurels and togas.
I've puzzled over the difficulty that students have with editing, and I think I've identified its source: It's their self-talk. We all talk to ourselves, inside our heads. That's what consciousness is.
I believe you make a movie three times: once in the development process - putting the ingredients like the script, cast and crew together - once in the shooting process, and once in the editing process.
There is no way that my mother hasn't influenced my career. She's my first critic. She's my best critic. She has the best instincts from writing to style to editing, to the visual elements of my career.
(R)eality TV (is) a medium dedicated to the proposition that with the help of judicious editing, carefully chosen half-wits can hold the attention of millions of their fellow half-wits for weeks on end.
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.
A writer should be of as great probity and honesty as a priest of God. He is either honest or not, as a woman is either chaste or not, and after one piece of dishonest writing he is never the same again.
I write quickly with a sense of urgency. I don't edit myself out of existence, meaning I'll try to write 50 or 60 pages before I start rereading, revising and editing. That just helps with my confidence.
Editing is hard but nowhere NEAR as tough as facing that blank page and blinking cursor each day. You're all alone and no one else can do it. At least with editing you have someone in the trench with you.
I basically went into business for myself. But it never amounted to anything. I learned a lot about editing and dubbing by watching all the professionals do it, but I never got a job out of my imposition.
I think that anybody that wants to direct, particularly writers, should spend some time in an editing room, whether it's a film of theirs or someone else's, or shoot their own picture on video and cut it.
My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.
Most artists are going into the studio for a fixed period of time, and they say that's their album. I can't relate, because I've never made music in that way. I come from a culture of editing and remixing.
The editing process was a free-for-all, and since I hadn't gone to film [Dream of Life] school or anything like that, I just said, "We'll do this. We'll do that." It was a really great experience that way.
Before we started shooting 'Homecoming,' we were in the writer's room for 'Mr. Robot.' I was also editing Season 3 of 'Mr. Robot' while I was prepping for the 'Homecoming' shoot. So yeah, it's a lot of hats.
I guess if editing doesn't hurt, you're probably not doing it properly. I find it quite difficult. The hardest part is believing that it's actually working and getting rid of the doubt that always creeps in.
Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.
They make Spy Kids, they make Scream, they make A Scary Movie. This doesn't do that, so it could be a very bad marriage. I'm trying to keep this potential nightmare quiet because we're just finishing editing.
Amanda Hocking and Hugh Howey have been successful in their self-publishing ventures. But notice that Hocking would prefer to write and hand over the editing, promotion, and selling to a traditional publisher.
I've lived through the shooting of movie, the editing and every other process along the way, so it's not for me to really judge it. I'll probably look at it again five years from now to get a fresh feel for it.
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.
Most of my material is , it doesn't necessarily involve a lot of editing. So even the show with the World Meeting of Families in Philadelphia, I don't have to worry about some of the material being inappropriate.