A Quote by Donnie Yen
For me, shooting, editing, and scoring rely on rhythm.
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I'm too big a fan of rhythm and editing. I'd much rather my editing be brave than my shooting.
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.
Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing.
Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.
Comparing filmmaking to a plastic model, shooting is the process where you mold and color each piece, and editing is where you build a finished whole from the pieces you molded and colored. Obviously, the latter is the most enjoyable part in the making of plastic models, so editing is the process in filmmaking I enjoy the most. But at the same time, editing can be a painstaking task, too.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.
I'm extremely willful to win, and I respond to challenges. Scoring titles and stuff like that... it sounds, well, I don't care how it sounds - to me, scoring comes easy. It's not a challenge to me to win the scoring title, because I know I can.
In scoring we have a lot that was not evident in the shooting. The radio is on all the time.
You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.
When you're done shooting, the movie that you're going to release when you're done shooting is as bad as it will ever be. And then through editing, and finishing the effects and adding music, you get to make the movie better again. So I'm really hard on myself and on the movie.
I love being in the editing room and playing with tempo and with the rhythm of shots.
I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.
I've lived through the shooting of movie, the editing and every other process along the way, so it's not for me to really judge it. I'll probably look at it again five years from now to get a fresh feel for it.
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