A Quote by Brit Marling
I always feel like the editing room is like coming into the kitchen. What kind of a meal do you make from there? It can be anything.
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I've usually never felt comfortable shooting until things were kind of claustrophobic, but ballet dancers need a lot of space, so the sets that I designed had to be big. Normally, I'd design a kitchen that was half the size of a normal kitchen, just to make everything feel kind of womb-like, but the kitchen in a ballet would have to be like 100 feet wide and just as long.
Teaching regularly has made me an even more adept reader, I think. The kind of teaching I do is more like editing than anything else. The kind of editing book editors used to do before lunch. The kind of editing I used to do as a radio documentary maker.
Movies get found in the editing room. The movie that you make is not always necessarily the movie that comes out of the editing room. The trick is to perfect the movie that you have and make it the best version of what you've shot, regardless of what the intent may have been.
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.
The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.
When you make the film, it's like a chef who works on the meal. After you're working all day in the kitchen and dicing and cutting and putting the sauces on, you don't want to eat it. That's how I always feel about the films. I work on it for a year. I've written it, I've worked with the actors, I've edited, put the music in. I just never want to see it again.
I probably had some impact, because everyone keeps telling me that I did. I like to feel like I'm coming out with something to try to make room for other young women to make their art.
I never feel like anything I have done is perfect. I feel like there is always room for improvement.
I'm sort of coming of age into a different time of acting, and I feel kind of like a kid again. I used to think that I could climb anything, do anything. But I've just been like a skinny white girl my whole life.
I like being a musician that's also a fly on the wall. I like people coming in the room and doing what they do and then leaving. I like attention, but it actually gives me a little less to work with as a performer if people are editing themselves and not being them.
Paris is a beautiful city to walk around in. And, you know, all the obvious things: I like the museums, I like the theater, I like the dance. And it's manageable. The food's good. I know a lot of interesting people here. I lived in Boston for 50 years or more. Wherever I am, I'm usually holed up most of the time in the editing room, and so, when I leave the editing room, even if I just take a walk, it's gorgeous. And I walk everywhere. I'm a victim of the seduction of Paris.
There are persons so radiant, so genial, so kind, so pleasure-bearin g, that you instinctively feel in their presence that they do you good; whose coming into a room is like bringing a lamp there.
I've always equated the writing process with editing, sort of like when I get through editing the movie, that's like my last draft of the screenplay.
I like to do the camera work myself because I kind of feel it, you know, I don't articulate it, I feel it. It's the same with editing.
I'm constantly trying to make myself better, to learn more. I didn't finish college, so I feel like I'm always having to prove myself. I don't want to feel like the smallest person in the room.
I like rap. I like anything with soul. I like anything you can feel, anything that makes you think that the artist had to make that song, or they were going to go crazy.
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