A Quote by Leni Riefenstahl
I was fascinated by the effects that could be achieved by editing. The cutting room became a magic workshop for me.
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There was a guy named Ed Mishell. He was this grandfatherly guy who did all the illustrations for the catalogs and reviewed magic effects for the magic magazines, so all of the magic dealers would send him magic effects for free-it was a great deal. His basement was full of this stuff. He took me under his wing, and he would sneak me into the Society of American Magicians meetings in New York. It's the world's oldest magic organization.
The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.
We're not allowed in the cutting room - and that's extraordinary. So, when a director is asking for certain nuances and colours and we feel that they're phoney, but we do it because the director asks for it, that's the one that they pick in the cutting room. And I contend that when you see a movie with bad acting, don't blame the actor... blame those guys in the cutting room because they like that take.
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.
All three parts of filmmaking [writing, shooting, editing] contribute to rhytm. You want the script to be a tight as possible, you want the acting to be as efficient as possible on the set, and you have enough coverage to manipulate the rhythm in the editing room, and then in the editing room you want to find the quickest possible version, even if it's a leisurely paced film. I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
I became fascinated with recording in an open room.
I think that, you know, women succeed in the cutting room or they're allowed into the cutting room because it's not a very on-display job. I mean, we're behind the scenes. We kind of whisper in your ear.
As soon as I moved to Princeton in 1978, I became fascinated by local history, much of it Revolutionary War-era; and I became fascinated by the presidency of Woodrow Wilson at Princeton University.
I get very, very anxious on the set. I have a thousand ideas and I don't censor myself. I wind up cutting some of them out in the editing room... I shoot [needless footage] and then don't use later on in the process.
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.
People that could yodel always fascinated me. People that could sing loud always fascinated me. So I started trying to mimic at a really young age: 6, 7 years old.
What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.
As soon as you're finished shooting, you have to go into the edit room and choose all of the shots that you're going to commit to because the visual effects vendor has to get it because they'll spend months on it. So, you're editing out of sequence before you've gotten a film for the movie and the performances.
I became fascinated by the fact that you could translate written material into performance.
All the embroidery is made in my father's workshop in India... and all the cutting and sewing is done in my studio.
President Reagan achieved such successes because when you sat in a room with him, there could be over 1,000 people in the room, yet you felt like there was only the two of you, and his wonderful wit would put you at ease. That was a tremendous gift.
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