Top 1200 Editing Room Quotes & Sayings - Page 19

I love watching action films, and especially the little moments of wit and humor in the choreography in a lot of them. The editing of an action sequence often has great moments of comic timing.

And now that Thou has restored to me the knowledge of Thyself, O Lord, let thy pardon fall on me, since Thy infinite mercy is not better known in anything than in pardoning a Dismas (the traditional name of the good thief) on the Cross and a Dominicus Corea on the gallows. If in Hell there is room for sinners, in Heaven also there is room for penitents.

Gansey leaned back, head thrown to the side, drunken and silly with happiness. "I love this car," he said, loud enough to be heard over the engine. "I should buy four more of them. I'll just open the door of one to fall in to the other. One can be a living room, one can be my kitchen, I'll sleep in one..." "And the fourth? Butler's pantry?" Blue shouted. "Don't be so selfish. Guest room.

When I first started editing a 'Year's Best' volume in the '70s, the job was pretty straightforward - there were three or four monthly magazines to read and a few original anthologies from trade publishers every year.

I usually hang around the room listening to a bit of last night's show. If there's one available, I go to the steam room every day for my voice. I spend half an hour there and then I eat, because I can't eat later than four o'clock. Then I go for a soundcheck. That's my day.

More than anything I want to get up there and hang out with the audience, make everybody feel like it's fun and they're involved and are just, like, friends hanging out in somebody's living room. I went to see Carole King on her 'Living Room' Tour, and that's the kind of feeling I'm aiming for.

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 got to spend all of my time every day at work reading and editing papers about cutting-edge technical research and getting paid for it. Then I'd go home at night and turn what I learned into science fiction stories.

This is advice I would give to any young actor - if you go into a room with anybody and you come in with a positive attitude and a place of love, and you truly do love what you're doing, then the negative energy doesn't even get into the room. You just have to prepare, and then go in and be the best you that you can be, and you'll either get the job or you won't.

It's kinda like Hulk Hogan whereas any time Hogan walks into a room, he's got that distinctive look. Everybody, whether you're a wrestling fan or not, you know who he is. Chuck has that same thing. Whether you're an MMA fan or not, he'll walk into a room and everyone goes, 'Oh, that's Chuck Liddell.'

Sometimes, to keep things exciting, I decorate my house as if I owned a child. I'll toss a tiny pair of shoes in the hallway or lean small wooden crutches in what I refer to as 'the baby's room,' which is actually a tiny space where I make things. I continue to call it the baby's room because it confuses people and it's creepy.

When you're editing, you're putting it together in a way that makes sense metaphysically. You're not inventing it, but you're finding the story that's there. You're making a play that's eventually going to go on stage and present itself to an audience. You want to show what happened, not exactly what you have evidence of happening.

I'm not really interested in clothes. Mainly, I like wearing clothes that don't make me stand out - I tend to go for Marks & Spencer and Gap - and I do get put in the changing room at Gap, and clothes are passed to me under the changing room door.

Modern biblical scholars have established that the bible is a wiki. It was compiled over half a millennium from writers with different styles, dialects, character names, and conceptions of God and was subjected to haphazard editing that left it with many contradictions, duplications and non-sequiturs.

When I get home I'll still have to unload the dishwasher and clean my room. Last night my mom got so fed up of my messy floor in my room she picked it all up off the floor and put it on my bed so I would have to clean it up before I went to bed!

The pace is different on a film set. It's slightly slower, allowing for a little more wiggle room. Sometimes there is a bit more room to explore and work on the floor. On a TV set, you really have to be ultra-prepared and ready to deliver because time is so tight. Not that you don't have to be prepared for film.

Just understanding that if you're not growing up, you're just moving backwards, and I'm a person that I always want to grow and learn and not be the smartest person in the room, because when you're not the smartest person in the room, you're always learning things.

There's always a price you pay when you lie. Once you introduce a lie into a relationship, even for the best of intentions, it is always there. Whenever you’re with that person again, that lie is in the room too. It sits on your shoulder. Good lie or bad lie, it's in the room with you forever now. It's your constant companion.

(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.

Formulating the proposal is about 80% of the actual time of the process. In the end, the time spent filming, editing and postproduction is a very small proportion of the total time you spend in the production of the film.

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.

When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing, you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.

Movies remind me of recording. Just the process of it - the intricacies, the technicalities, the days and the long hours, and mastering and mixing and editing. But seeing the final product, it all pays off in the end. That's the rush - when you see things come to life.

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.

With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.

When I was younger I didn't have much financially, like we couldn't afford a lot of stuff and I remember seeing little girls' rooms on TV and they'd all be pink. I didn't have my own room, I shared with my brother, so I would have this daydream and imagine that one day I could have my own room and it would all be pink, like Cinderella's.

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.

The great majority of Baghdad is a slum - a lot of it's new, but it's still slum. It's usually this concrete-block, one-room design with a door and a window, arranged one-up, one-down, often with a shop with nothing in it on the first floor, and then a one-room apartment above it. There's street after street after street of that stuff.

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.

When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing; you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.

When I walk into a room in its grey state, I kind of understand what vibe the room should give out when it's done. Sometimes, it's about serenity, sometimes it's about love, it could be about a married couple or, could be about warmth and companionship with your family home, so it depends on the space.

About 200 girls went into a room and there were two casting agents and they asked you to say your name and where you came from and then they picked two or three out of that. And they sent you into a room and I was really nervous and kept dropping things and I was going the wrong way and everything. Then she gave us a script and you had to learn it.

Editing cannot be taught. Developing your own taste cannot be taught.

The excitement of wading into 'reality' and just finding out what happens - and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging - is a great, great thrill.

Very few people actually saw Andy's films like Chelsea Girls where he filmed seven hours, ran it on two screens, where each scene was in a different room at the Chelsea Hotel with these people he called 'Superstars" who were basically super-exhibitionists - the guy in one room high on LSD talking about masturbation, Brigid Berlin in another room playing a lesbian and shooting up people with amphetamines right through their jeans, it was all real and they were really doing it (though Brigid is now a proper lady), but you know Andy really did pre-date reality TV.

Professional marriage counselors agree that the most productive and mature way to deal with marital anger is to stomp dramatically from the room. You want to make your move before the opponent does, because the first person to stomp from the room receives valuable Argument Points that can be redeemed for exciting merchandise at the Marital Prize Redemption Center.

Taste is an evolution and refinement of one’s personal likes and dislikes. This evolution takes place with a constant curiosity and interest in everything. The editing consequently refines the choices and defines taste.

I picked ducks in a tub in my dorm room. I'd hang deer in the doorway between the bedroom and the little living room in our little apartment there, and I'd skin my deer, and all the guts would go in the tub, and I'd sneak them out so my fellow students on both sides wouldn't see all that, you know. I'd clean fish up there and all.

Woody Allen, when we did Vicky Cristina Barcelona, said to Rebecca Hall, "Do it one time happy, one time sad, and one time indifferent, as I won't know where you should be until I'm editing this, in terms of your emotions."

I think a lot of times people look at me and say, 'Well, we can't possibly hand a show over to her to run.' It seemed like executives would be worried about me controlling a room and having power, and I'd say, 'Oh, I can control a room. I can give an order like nobody's business.'

[My mom] is quite the strict editor. I feel like maybe she has more of the old-school editing style, which really works in picture books, because you don't want to articulate anything in words that is already shown through the pictures.

That was an amazing experience [making Dream of Life]. It's hard to imagine that we were editing every day for a year. And it was pretty extraordinary; it also went by super fast. But every day was an experiment.

I took a small flat for myself and the children ... My husband took a room in a clean rooming house within easy walking distance of his office. ... It is wonderful sometimes to be alone in the night and just know that someone loves you. In other moods you must have that lover in your arms. Marriage under two roofs makes room for moods.

I keep saying, and I've said it to the players, what happens in a dressing room stays in a dressing room, whether that's with me and a player, whether it's two players together, whether it's the coaching staff and the players. I just think it's almost a sacred environment and that trust in that area is unbreakable.

By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.

LICKSPITTLE, n. A useful functionary, not infrequently found editing a newspaper . . . the lickspittle is only the blackmailer under another aspect, although the latter is frequently found as an independent species.

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.

I never write something and consciously embed political commentary or any other kind of commentary. I just try to get the characters into a room or out of a room, or onto the plane, or through the grocery store. The political stuff, the class stuff, the gender stuff, is in the air, it's in their interactions, because it's there for all of us.

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!

Phases of the creative process: Preparation-gathering impressions Incubation-letting go of certainties Immersion/Illumination-creative intervention/risk Revision-conscious structuring and editing of creative material.

So if we're going to build new applications that require a large time investment, like say movie editing - today that doesn't matter for the enterprise desktop, but eventually it will when we get closer to consumers - you really need to have a cross-platform story.

If you look at the field of robotics today, you can say robots have been in the deepest oceans, they've been to Mars, you know? They've been all these places, but they're just now starting to come into your living room. Your living room is the final frontier for robots.

People will like to say that 'Eastern Promises' is brutal, but the only reason they say that is because the scenes stick with them. They are realistic. They are in-your-face and you see the consequences. It's not a bunch of quick editing cuts.

'How do you balance the creative with the biblical?' One could pick up the scripture and read it to oneself and you would be communing directly with that information. As soon as you go into film, as soon as there's a camera, and there's an angle, and there's lighting, and there's editing, you're into the adaptation.

"Kindness" can mean a lot of different things. In this case, I felt I had to present his [Donald Trump's] supporters in as fair a light as possible - many of them hadn't been interviewed before and that entailed some interviewer-courtesy in the editing and so on.

Undertaker was always a leader in the dressing room, always a man's man. No one ever doubted what he said because his word was good. He was a guy that set the dressing room standard. If you had an issue or personal problem, you could go to Undertaker and he would help you.

As my good friend Al Capp told me a few years ago, the best thing to do with a confirmed [hotel] reservation slip when you have no room is to spread it out on the sidewalk in front of the hotel and go to sleep on it. You'll either embarrass the hotel into giving you a room or you'll be hauled off to the local jug, where at least you'll have a roof over your head.

I always see the filming as basically going to the grocery store and buying a bunch of ingredients and that's about as far from having a dinner as you can possibly be. Then editing is the cooking, the preparation of the meal and if you don't edit it you've just got a pile of raw meat.

I remember coming into 'The Lion King' and, oh forgive me Lord, but doubting it. The way that musicals are put together, we're kind of exclusive of each other. And so somebody's working on this in one room, and somebody's working that in the other room. I did not understand how all this was going to come together.

Right awareness is awareness of one's own being in its totality: all that is good and all that is bad. But as you become aware, the bad starts disappearing - just as when you bring light into the room, the darkness disappears. When light is in the room, darkness cannot exist there. Sin is darkness, forgetfulness, unconsciousness.