A Quote by Alejandro Amenabar
For my first movie, I think my first cut was like three hours, because when you first direct a movie, you want to keep everything. But I'm not one of those directors who falls in love with the stuff they've done. Already when I'm doing my first cut, I'm willing to cut out everything that is necessary.
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First of all, the first cut of the movie was like three and a half hours and I walked away going, 'Wow, I know there's like twenty minutes that I can cut - ' when I first saw it 'But I don't know after that.' The first time I put up then in front of people I was like, 'Oh, my God, I can take that out and that out and that out.'
When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.
In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.
When we first put 'Let It Be' out, I had to cut out a lot of stuff that I really like and wanted to stay in there. The stuff in the new DVD has a lot of the stuff that had to be cut out. So for me, it's like the egg is now complete.
I never liked the extended cut personally because I like...we spend a lot of time figuring out our final cut. We test and test and test it, whatnot. Having said that, there's one sequence we're adding back into the movie for the extended cut that is pretty amazing that I think people are going to love.
Usually you always see first cut is an extended version, because it's basically everything you shot, and you have that version and then you start cutting stuff out.
The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.
'Insidious 2' is a direct continuation of the first movie. We literally pick up from where we left off at the end of the first film. And whereas the first movie is a twist on the haunted house genre, the second movie is a twist on the classic domestic thriller.
Perseverance. I got cut twice. I got cut in Charlotte. I didn't have to go to Atlanta to audition. I could have said, "I'm not cut out for this." But I said, "I think I'm better than that, I can go try again." So I went to Atlanta and I made it through. Then I got cut the first time around. I could have told them I didn't want to come back for the Wild Card show but I did and look how far I got.
Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
The first thing I notice when I look in the mirror is whether or not I need a fringe trim. I'm not brave enough to cut it myself - I can't look like a three-year-old whose mum has cut their hair again.
Once committed to fight, cut. Everything else is secondary. Cut. That is your duty, your purpose, your hunger. There is no rule more important, no commitment that overrides that one. Cut. Cut from the void, not from bewilderment. Cut the enemy as quickly and directly as possible. Cut decisively, resolutely. Cut into the enemy’s strength. Flow through the gaps in his guard. Cut him. Cut him down utterly. Don’t allow him a breath. Crush him. Cut him without mercy to the depths of his spirit." -Richard Rahl
I don't have any problem working with first-time directors because all directors have to start somewhere and all great directors have had a first film. So, if you take the view that you don't want to work with a first-timer, you might miss out on a fantastic opportunity.
I think we were the first picture to cut on Final Cut Pro. So we were the guinea pigs, because we got a deal on the system. But with that comes all sorts of technological problems I couldn't begin to describe.
First draft: let it run. Turn all the knobs up to 11. Second draft: hell. Cut it down and cut it into shape. Third draft: comb its nose and blow its hair. I usually find that most of the book will have handed itself to me on that first draft.
Everybody says the first cut if the deepest. It's so true. I don't know if it's because it's the best love, but it's the first that you remember. There is one boy that I will remember for the rest of my life, and I wouldn't go as far as to say, 'Oh I was in love with him and he broke my heart'. You hold on to that, just that first experience, it's good to have and you should appreciate it, even if it hurts.
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