A Quote by Frederick Wiseman
You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.
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For better or worse, editing is what editors are for; and editing is selection and choice of material. That editors newspaper or broadcast can and do abuse this power is beyond doubt, but that is no reason to deny the discretion Congress provided.
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.
When I say 'publishing is the new literacy,' I don't mean there's no role for curation, for improving material, for editing material, for fact-checking material. I mean literally, the act of putting something out in public used to be reserved in the same way.
The true poet has no choice of material. The material plainly chooses him, not he it.
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.
My writing is of a very different kind from anything I've heard about. All this mythological material is out there, a big gathering of stuff, and I have been reading it for some forty- or fifty-odd years. There are various ways of handling that. The most common is to put the material together and publish a scholarly book about it. But when I'm writing, I try to get a sense of an experiential relationship to the material. In fact, I can't write unless that happens ... I don't write unless the stuff is really working on me, and my selection of material depends on what works.
I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
I shoot people in a way that makes the audience feel equal to them. And it's hard to express and it's hard to execute but I think it works on every level - the choice of the material the choice of the actor, my relationship with the actor, and so on.
Most of my material is , it doesn't necessarily involve a lot of editing. So even the show with the World Meeting of Families in Philadelphia, I don't have to worry about some of the material being inappropriate.
For me, I think you make a choice what kind of actor you want to be, and then it's kind of the material you choose.
Every one knows that the heavenly bodies move in certain paths in relation to each other with seeming consistency and regularity which we call [physical] law. ... No one attributes freewill or motive to the material world. Is the conduct of man or the other animals any more subject to whim or choice than the action of the planets? ... We know that man's every act is induced by motives that led or urged him here or there; that the sequence of cause and effect runs through the whole universe, and is nowhere more compelling than with man.
Natural selection based on the differential multiplication of variant types cannot exist before there is material capable of replicating itself and its own variations, that is, before the origination of specifically genetic material or gene-material.
Man has been called a rational being, but rationality is a matter of choice... Man has to be a man-by choice; he has to hold his life as a value-by choice; he has to learn to sustain it-by choice; he has to discover the values it requires and practice his virtues by choice. A code of values accepted by choice is a code of morality.
You have a choice. Live or die. Every breath is a choice. Every minute is a choice. Every time you don't throw yourself down the stairs, that's a choice. Every time you don't crash your car, you re-enlist.
A collection of plants is not a landscape, any more than a list of choice words is a poem. The merit is in the design, not the material it is expressed in, and the best designs, like the best poems, make ordinary material significant by its arrangement.
Every time you're making a choice, one choice is the safe/comfortable choice - and one choice is the risky/uncomfortable choice. the risky/uncomfortable choice is the one that will teach you the most and make you grow the most, so that's the one you should choose.
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