Because everyone in the world has the power to edit, Wikipedia has long been plagued by the so-called edit war. This is like a house where the husband wants it warm and the wife wants it cool and they sneak back and forth adjusting the thermostat at cross purposes.
I write a chapter, then edit it and edit it and edit it and edit it. I don't think we mine creativity from within. It's bestowed from on high, from God.
I do like a song that can look good on a page without even being sung. I edit and edit and edit.
The Coen brothers: Of all the directors I've worked with, they're the only ones who have given me the storyboards attached to the script. It was very cool for me, because I knew when I was in close-up or if it was far away, and it also made me know that anything that happened in the edit wasn't personal. Because they edit their own movies, so they were editing it as they went.
Look at our society. Everyone wants to be thin, but nobody wants to diet. Everyone wants to live long, but few will exercise. Everybody wants money, yet seldom will anyone budget or control their spending.
[Writing] is edit, edit, edit. It's almost like getting a boat ready to go to sea. You've still got a countless number of things left to fix, but you've just got to go, "O.K., everybody get on the boat. We're going, ready or not."
I think Israel, as a number of commentators pointed out, is becoming an insane state. And we have to be honest about that. While the rest of the world wants peace, Europe wants peace, the US wants peace, but this state wants war, war and war.
I shoot a scene, edit it, and then, two days later, I doubt whether or not it has turned out right. I reshoot a small part of it, go back to the first edit of it, and do all sorts of things.
There are some concerns that are universal. Everyone wants to be loved, and everyone wants to feel like they belong somewhere in the world. Everyone wants to do something and feel like they have a sense of purpose. These are just the things that I think about and the things that make their way into my songwriting.
I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.
A man who wants to die feels angry and full of life and desperate and bored and exhausted, all at the same time; he wants to fight everyone, and he wants to curl up in a ball and hide in a cupboard somewhere. He wants to say sorry to everyone, and he wants everyone to know just how badly they've all let him down.
I'd always rather stand or fall on my own mistakes. There's nothing worse than looking back, in a published book, at a line edit or a copy edit that you felt queasy about and didn't want to take, but took anyway.
I don't need to edit names out of songs and I don't need to edit details out of my songs because I've always been able to be honest with my music. That's the one place where I'm never ever going to change how I do things.
In TV, you are much more likely to see the episode closer to the script as written - in terms of the order of the scenes - than you would in a movie, and here's why: you don't have as many days to edit. You have 10 to 12 weeks or more to edit a feature, and you have four days to edit TV. That's a huge difference.
If a musician wants to be an actor, everyone thinks that's pretty cool. But if an actor wants to play a song, even if they've been doing it for 40 years, that's bad news.
I had never seen anyone edit the way that I edit before I did it, and it's just what felt right to me.
When I edit the poems - and I do edit, which some people don't mean when they use the term "stream of consciousness" - I'm usually editing toward greater accuracy, which sometimes means more fragmentation, because that is the way I think.