Quotes of All Topics . Occasions . Authors
In a play, you dictate pace, you dictate rhythm, you dictate when people look at you, when people should be looking at something else. In film, the editor does that.
Always point your finger at the chest of the person with whom you are being photographed. You will appear dynamic. And no photo editor can crop you from the picture.
I've rewritten a lot of the scripts I've done. 'Little Shop Of Horrors' was a complete rewrite, but I didn't touch the dialogue. Essentially, I'm a very good editor.
I started making little films with a 16 mm camera as an undergraduate at Yale. My first job out of college was 'assistant editor' on a forgettable low budget feature.
It took a brave editor in the U.S. to sign a contract for Dancing Girls, and without her belief in the book, I'm not sure it would ever have found its way into print.
When I'm my own editor, there's very little difference between the first draft and the final. I write what feels right to begin with. I rarely make any major changes.
My toughest criticism usually comes from myself. As my editor can attest to, I'm never done tweaking a book until the production department has to rip it from my hands!
When I went in, my editor said, 'I hope you don't think you're a writer.' And I said, 'I hope you don't think I'm a journalist.' And, uh, turned out we were both right.
I was an editor for supplemental math, science, and literature programs for the primary grades and became very well versed in elementary curriculum, particularly PreK-2.
The one thing that's always been the center of my political thinking - and it goes back to when I was 19 and editor of my college paper - is an abhorrence of the extreme.
After I've sent my revised draft to my agent and editor, they suggest more improvement sand again, this revision phase can take anywhere from a few hours to a few months.
One guy records the voices, another guy times the storyboard, another guy times the sheets, one guy is the story editor. All these jobs should be covered by the director.
I'm impressed with how 'Newsweek's' outstanding staff has continued to put out a lively, well-informed magazine after the departure of their tireless editor, Jon Meacham.
The fashion editor as it used to be has changed. Now you have to wear many hats, and whoever tells you differently is wrong. Now you're on TV, whether you want it or not.
It's not like I ever sat in my room and said I was going to start a media company and become an editor in chief. It was never my dream. It was something that just happened.
The only people who usually have input on my writing are my wife and my editor. I'm not in conversation with anyone except the people I report on and the people I work with.
I thought it was a glorious thing to be a critic and to be a literary editor, and one was really doing something that mattered: to keep up standards, to take books seriously.
I think there are probably a handful of real character actors in this business. The rest of us are recycling. So now I'm Sam Malone the editor. I'm Sam Malone the billionaire.
I was a production assistant in the post department on 'The Surreal Life.' And it's been reported before that I was an assistant editor on 'The Surreal Life.' That is not true.
Film is an editor's medium. You can create very good raw material and they can make it horrible, or you can do not so well and they can make it beautiful. You don't really know.
I was the executive editor on a little magazine called Greek Accent, whose only claim to fame is that its art director went on to be the art director of Discover for many years.
Scorsese has very defined ideas about how to shoot a scene, and he's an editor himself - we cut together. It means he's constantly thinking about my problems while he's filming.
I had this vague notion that one day I might be editor of 'Vogue China.' It was a bizarre ambition, as I didn't speak a word of Chinese. There were flaws in my plan, admittedly.
I was the editor of the school newspaper and in drama club and choir, so I was not a popular girl in the traditional sense, but I think I was known for being relatively scathing.
I really enjoyed the process of 'Women in Clothes,' but there's no way I would have done that again. It felt more like being an editor than a writer, and I longed to write 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'd love to find a lifelong female film editor as Scorsese has with Thelma Schoonmaker. I think women are probably, without generalising, sensitive to subtle things as an editor.
I was working for Time-Life Books from 1962 to 1970, as a staff writer, and after that, I was a journalist. Eventually, I became an editor at 'The Saturday Review' and 'Horizon.'
I didn't do a masters in creative writing until I was 26, which is quite old, and then I found myself in New York and I needed money, so I started working full time as an editor.
Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
Rewriting is a large part of the whole job. And get rid of stuff that's not working. Just pare it down until it's a beautiful thing you can hand in, probably late, to your editor.
I just happened to see an ad saying 'Willing to train an assistant editor,' and I learned enough from that to go to NYU for just one summer course. That's all that I could afford.
Two opposite and instructive figures in U.S. journalism during the Trump years are Gerard Baker, editor of the Wall Street Journal, and Martin Baron, editor of the Washington Post.
A specific editor in a specific place likes the book, and you're in. A different editor on a different day goes, 'Oh, this isn't for me', or doesn't even look at it, and that's it.
Ulysses could have done with a good editor. You know people are always putting Ulysses in the top 10 books ever written but I doubt that any of those people were really moved by it.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
In the early stages of writing children's books, an experienced lady editor said that while girls read boys' books, the converse was not true, and I may have been influenced by that.
I didn't even know what a beauty editor was. It sounds like a fictional job if you think about it. You get to test lipstick and perfume and nail polish legitimately and call it work.
When the war was over and the guys were back to shaving every day, the editor thought the Beetle Bailey strips were hurting their disciplinary efforts to get the guys back to routine.
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.
Bob Harras' personal and creative integrity is respected and renowned throughout the comic book industry. As an editor, he provides invaluable insight into storytelling and character.
I remember the first time I spoke to an editor. I thought I'd be sick, I was so nervous. The first time I spoke to a large group at a conference, I had the jitters for days beforehand.
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.
About 90 percent of the pieces in my home are vintage, and I'm a ruthless editor. I only live with things that I love. There is not one thing in my home that doesn't have meaning to me.
My friend Leonid Shvets is a long-time journalist, commentator, and editor. He was born in Belarus and came to Kharkiv, in eastern Ukraine, to go to school, then moved to Kiev for work.
You should never rely on interviews with musicians as being factual. Most of them are mangled and even have made up stuff in them, that is to say, made up stuff by the writer or editor.
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.
I once had a story editor ask me not to use the word 'placenta.' I wanted to say: 'Now tell me again how you got here?' Oh, right, an angel of God placed you into the bill of the stork.
The best advice I got as a writer was also the first advice, which came from the late fantasy author and editor Karl Edward Wagner: Any agent who charges to look at your work is a crook.
It's all about who's where on the food chain. When I'm the story editor, I expect my writers to follow my vision. When I'm working for another editor, I'm obliged to follow their vision.