A Quote by Beth Grant

The Coen brothers: Of all the directors I've worked with, they're the only ones who have given me the storyboards attached to the script. It was very cool for me, because I knew when I was in close-up or if it was far away, and it also made me know that anything that happened in the edit wasn't personal. Because they edit their own movies, so they were editing it as they went.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
Once I'm in the editing room, forget about what I intended to shoot. I take a cold, hard look at what I really did shoot, and then I edit that because, if you try to edit what you intended and you missed somewhere, that will show up.
I write a chapter, then edit it and edit it and edit it and edit it. I don't think we mine creativity from within. It's bestowed from on high, from God.
When I edit the poems - and I do edit, which some people don't mean when they use the term "stream of consciousness" - I'm usually editing toward greater accuracy, which sometimes means more fragmentation, because that is the way I think.
Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.
One of the things I've been talking about with my critical writing and my own work is that these movies are seen differently in a theatrical space. It's very important to me. I edit films to be seen theatrically, like fiction material I've worked on like Listen Up Phillip or other documentaries.
I also had my own addiction to cocaine and heroin in my 20s. I knew that it was driven not by the things that the drug workers were telling me; in fact, I couldn't believe any drug information that was given to me by authorities because I knew from my own experience that it was wrong.
People support me because they know me. They know my life's work. They have worked with me and many have also worked with Senator [Bernie] Sanders. And at the end of the day they endorse me because they know I can get things done.
It's so odd because I don't even know if I'm cut out for it, but being a movie star guy, I sort of end up gravitating toward the Coen brothers. That's one of the reasons my wife and I moved to L.A.: that however much of a pipe dream that would be, I moved to L.A. because I'd love to work with the Coen brothers.
Well, it gives me the opportunity to make the movies that I want to do, because L'Oreal pays me very well. Also it means that I can work with great directors. My last commercial was directed by Erick Zonca, who made 'Dream Life of Angels.' And finally, it doesn't take up a lot of my time.
I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.
George Carlin maintained that anything and everything is funny given the right context. This context also includes your own history with a given group. What I can get away with and where I can go is not a problem with my audience because they know me.
When I got onto set with him we were given a folder of storyboards. I thought that was pretty incredible because I hadn't worked with anybody who used storyboards before so he obviously had a very precise way as to how he visualized the film from the very beginning. It was every scene, but to his credit he was incredibly collaborative and gave us many opportunities to have our own input and to change things with him, so it was a really great way of working.
Because everyone in the world has the power to edit, Wikipedia has long been plagued by the so-called edit war. This is like a house where the husband wants it warm and the wife wants it cool and they sneak back and forth adjusting the thermostat at cross purposes.
I had never seen anyone edit the way that I edit before I did it, and it's just what felt right to me.
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