A Quote by Joshua Oppenheimer
From 2005 to 2010, I was exclusively shooting 'The Act of Killing' and then editing it.
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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
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.
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.
I'm too big a fan of rhythm and editing. I'd much rather my editing be brave than my shooting.
I am determined not to kill, not to let others kill, and not to condone any act of killing in the world, in my thinking, and in my way of life. We cannot support any act of killing; no killing can be justified. But not to kill is not enough ... If in your thinking you allow the killing to go on, you also break this precept. We must be determined not to condone killing, even in our minds.
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.
When I decided to see what Nascar was all about in 2005, it was an intellectual project, the same reason I went to the shooting range on West 20th Street and tried shooting a rifle at paper targets. I was addicted to both things instantly.
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.
You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.
You must stop editing--or you'll never finish anything. Begin with a time-management decision that indicates when the editing is to be finished: the deadline from which you construct your revisionary agenda. Ask yourself, 'How much editing time is this project worth?' Then allow yourself that time. If it's a 1,000-word newspaper article, it's worth editing for an hour or two. Allow yourself no more. Do all the editing you want, but decide that the article will go out at the end of the allotted time, in the form it then possesses.
You can really shoot things you think might work on camera one way, then you can try it that way, and then if you think it could also work another way, you have that luxury of shooting a bunch of different steps, and then they can decide in editing what works the best.
We must look deeply. When we buy something or consume something, we may be participating in an act of killing. This precept [non-killing] reflects our determination not to kill, either directly or indirectly, and also to prevent others from killing.
I think I was never home when I was directing, because you're either prepping, shooting, or editing, and then acting at the same time. It's really time-consuming, but it was great fun.
During the preproduction when I'm shooting and then once we wrap we go away. And then the visual effects guys take over. And then they add all those little bits and pieces. They come up with ideas during the cut in the editing, and they said while would be really cool if we did this thing here where the blade pops out. So then you see the movie and say wow that's a really neat idea. I wish we would have thought of that.
I became really aware that when you're making a movie, you're making it three times. You're making it when you're writing it. You're making it when you're shooting it. And then you're remaking it again when you're editing it.
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