A Quote by Barry Sonnenfeld
The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."
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I might have got somewhere with 'The Ladykillers,' but forty minutes were cut. A lot of me was cut with that forty minutes.
Time can be dissected easily: an hour can be cut up in many ways. Fifteen minutes on this memo, a five-minute walk to another meeting, 30 minutes at that meeting and then 10 minutes debriefing. Oh, and maybe a quick phone call on the walk to that meeting. The busy are expert at dissection: that's how they make it all fit.
In 2004 Professor Stephen Farnsworth, when I report saying that I got about five minutes on all the networks after Labor Day to election day: only five minutes even though I, like you, were representing majoritarian issues.
Interestingly, my first director's cut was an hour and forty-one minutes. Then, the studio actually wanted to add more to the story, so we went all the way up to an hour and forty-seven minutes. After that, I made some additional cuts and now we are where we are.
In fifth grade, we did 10 minutes on slavery and 40 minutes on Abraham Lincoln, and in 10th grade you might do 10 minutes on the civil rights era and 40 minutes on Martin Luther King, and that's it.
I have makeup that I can do in 15 minutes, 10 minutes, or five minutes, depending on what I'm doing that day. On a day when I'm shooting, it's 15 minutes. Five minutes is when I'm running around that day, and it's no big deal.
The difference between smartphones and cigarettes is this: a cigarette robs 10 minutes from your lifespan, but at least has the decency to wait and withdraw all that time in bulk as you near the end of your life - whereas a smartphone steals your time in the present moment, by degrees. Five minutes here. Five minutes there. Then you look up and you're 85 years old.
If you waste five minutes of time a day, over the course of a year that adds up to one full work day. Think of five wasted minutes as a slow-release holiday drug. Savour it.
'Chandelier' took, like, four minutes to write the chords, then, like, 12-15 minutes to write the lyrics. Probably 10 or 15 minutes to cut the vocals.
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.
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.'
I imagine explaining a work of art to my grandmother in five minutes, and if I can't explain it in five minutes, then it's too obtuse or esoteric.
An hour show panics me a lot less than five minutes at the O2. How do you put yourself across and make sure people have a good time in five minutes?
No matter what, if I got in for one minute or five minutes - especially that first year, minutes were really crucial for me - I played hard.
I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.
Damn, my first cut that I showed to distributors was probably about two hours and 20 minutes, even though my contract said two hours. So, I had to lose 20 minutes. It's incredible that it just keeps happening.
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