Quotes of All Topics . Occasions . Authors
I've seen people who stink, but the film editor shows them just where they didn't stink. But if you're empty and manipulative on stage, it's clear.
I don't work with anyone. I have no editors. I have no directors. There's no one even holding the camera or anything. It's just me in my apartment.
This editor is a critic. He has pulled out his carving-knife and his tomahawk and is starting after a book which he is going to have for breakfast.
The successful editor is one who is constantly finding newwriters, nurturing their talents, and publishing them with critical and financial success.
It's a really exciting thing to collaborate with production designers, cinematographers and gaffers and costume designers and editors and composers.
I don't like a kind of workshop that is about editing--I don't want to sit there and be an editor. I don't want to tell someone how to "fix" a poem.
There are some really genuinely talented people that make fan videos. They cut them really well, like, I'm amazed at the quality these editors have.
The New York Times Bestseller 'The Amateur,' written by Ed Klein, former editor of the 'New York Times Magazine,' is one of the best books I've read.
I had grown up as a feature writer, and basically my career had been in The National Lampoon and as a magazine editor, and I'd never been a reporter.
Every writer with half a brain knows to surround himself or herself with editors who are smarter, far more articulate, and infinitely better looking.
Maybe [I care about language] because I'm an editor, maybe because I'm picky, but it's all we got, don't shrink it. Don't dumb it out, make it little.
On a book like 'X-Men,' you have to stay true to the established fiction, working with editors to ensure continuity, sometimes across multiple titles.
You are not your poetry. Your self-esteem shouldn't depend on whether you publish, or whether some editor or writer you admire thinks you're any good.
Without editors planning assignments and copy editors fixing mistakes, reporters quickly deteriorate into underwear guys writing blogs from their den.
I had a wonderful and very successful career in New York and had the privilege of working with some of the best editors and publishers in the business.
It isn't a question of enhancement through design. Whether an editor realizes it or not, design is part of what he does every time he prints the paper.
It's not Brits who think American readers are a bunch of whinging morons with the geo-social understanding of a wire coathanger, it's American editors.
Even when influential political and media figures vehemently complained about the criticisms I wrote, Salon's editors unfailingly stood behind my work.
Writers would submit scripts to me, and if I liked one well enough to submit to magazine editors, I had the know-how whether the story was good or bad.
And that's another piece of advice I'll give junior writers; when you get to the point where they take you to lunch, let the editor suggest where to go.
Marxists are people whose insides are torn up day after day because they want to rule the world and no one will even publish their letter to the editor.
Creative people feel huge ownership of our content; we want everything to be done ourselves. But in book writing, there's a process: editors, PR people.
I had a great editor, Rebecca Corbett, from the time I was a city reporter right through to the years I worked on the 'Sun's' enterprise reporting team.
To me, editing is not something you can do in a rush because the artists themselves are not always their own best editors. Time is absolutely everything.
I have some friends, most of them are writers or editors, whose recommendations I trust blindly. There are some critics, too, whom I trust, but not many.
Authors are free to ignore their editors' advice. I often avail myself of this veto power - sometimes out of a pigheadedness for which I'll pay the price.
Dare to be a sucky skateboarder or a lousy video editor or a completely crappy golfer. If we do only the stuff we’re good at, we never learn anything new.
Although I still write, research and investigate, my role is primarily that of a publisher and editor-in-chief who organises and directs other journalists.
[Alex] Haley had a tendency to write even more frequently and voluminously to his agents and his editors than he did putting pen to paper in his own books.
One should fight like the devil the temptation to think well of editors. They are all, without exception - at least some of the time, incompetent or crazy.
I learned how to make a documentary by having a good team around me. My editors (and co-writers)Bent-Jorgen Perlmutt and Frédéric Tcheng were very helpful.
If it were not for the fact that editors have become so timorous in these politically correct times, I would probably have a greater readership than I have.
Publishers have in-house editors, but I hire my own before I submit the work to publishers. They appreciate it and I feel more confident about the material.
In 1972 I married again, to Elisabeth Case; she continues to be wife, companion, critic and editor: a partner in the projects and programs that we undertake.
I've imparted that philosophy to the writers, but some of them look stuff up while some don't. Same with the editors, directors and actors. To each their own.
Any reviewer who expresses rage and loathing for a novel is preposterous. He or she is like a person who has put on full armor and attacked a hot fudge sundae.
Sadly, too much has changed about publishing ... not only does attractiveness matter to agents and editors, but there's no room anymore for a reclusive writer.
Don't let anyone discourage you from writing. If you become a professional writer, there are plenty of editors, reviewers, critics, and book buyers to do that.
When I was editor of the Erotic Review I fielded endless phone calls from elderly readers who thought I might like to pop round in my spare time and thrash them
As long as I'm giving a little hype, I can't resist saying that Elie [Wiesel] has also written a number of pieces for Bible Review, for which I serve as editor.
As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.
Magazines are about trust and partnership: We, the editors, will strive always to keep you engaged; you, the readers, are free to engage with us or to reject us.
Editors have grown timid... a brave advance is almost inevitably followed by quick back-tracking, generally by dilution and debasement of the original intention.
Doing comedy for film is always a challenge because you are in the hands of the editor after the fact. I am hoping I can do some more soon, I enjoy doing comedy.
As an experienced editor, I disapprove of flashbacks, foreshadowings, and tricksy devices; they belong in the 1980s with M.A.s in postmodernism and chaos theory.
I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.
I wrote an article on a new Porsche for 'Automobile Magazine.' I knew the editor, and she asked me to write this article. So I'm more proud of that than anything.
I always have trouble with titles for my books. I usually have no title until the editor has to present the book and calls me frantically, 'Judy, we need a title.
An editor is bound to avoid the meshes of the law, which are always infinitely more costly to companies, or things, or institutions, than they are to individuals.
You get spoiled as a novelist because you get to be the director and the editor, and you play all the parts, but as a screenwriter, you are a bit down the ladder.