A Quote by Julia Davis
I'd love to find a lifelong female film editor as Scorsese has with Thelma Schoonmaker. I think women are probably, without generalising, sensitive to subtle things as an editor.
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Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
It's sad that women characters have lost so much ground in popular movies. Didn't 'Thelma and Louise' prove that women want to see women doing things on film? Thelma and Louise were in a classic car; they were being chased by cops; they shot up a truck - and women loved it.
It’s sad that women characters have lost so much ground in popular movies. Didn’t Thelma and Louise prove that women want to see women doing things on film? Thelma and Louise were in a classic car; they were being chased by cops; they shot up a truck - and women loved it.
An Editor becomes kind of your mother. You expect love and encouragement from an Editor.
You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames.
My husband is an editor, and in fact he was the first person who hired me as an assistant editor. Then we fell in love and the rest was history.
1968 in Paris renewed my options. There was suddenly a desire of inventing new things, and I while I was working as an editor, the assistant editor thought I had a gift, and when he shot his own film, he hired me as his assistant camera, and I trained myself to do the light for him.
I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.
That is an editor. He is trying to think of a word. He props his feet on a chair, which is the editor's way; then he can think better. I do not care much for this one; his ears are not alike; still, editor suggests the sound of Edward, and he will do. I could make him better if I had a model, but I made this one from memory. But is no particular matter; they all look alike, anyway. They are conceited and troublesome, and don't pay enough.
The first thing that editor does is they take out a red pen, or nowadays you go online, and they start striking things. Basically eliminating things, the biggest task of an editor is to simplify, simplify, simplify and that usually means omitting things.
What makes a good editor is staying the hell out of the way as much as possible. ... If you're a DC or Marvel or Dark Horse or BOOM! editor who's assigning work, then if you did your job properly to begin with, then the people you've hired can be trusted to do what they do without excessive meddling. The ideal situation you're shooting for as an editor is to groom a collaborative creative team to the point where their work sails effortlessly through production and the most you have to do is fix the spelling and the commas.
My last point about getting started as a writer: do something first, good or bad, successful or not, and write it up before approaching an editor. The best introduction to an editor is your own written work, published or not. I traveled across Siberia on my own money before ever approaching an editor; I wrote my first book, Siberian Dawn, without knowing a single editor, with no idea of how to get it published. I had to risk my life on the Congo before selling my first magazine story. If the rebel spirit dwells within you, you won't wait for an invitation, you'll invade and take no hostages.
I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. If you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. But if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
Jim Rich is many different things but he has a great combination of a kind of old school tabloid reporter and editor's sense for what's a great story, but he's also incredibly passionate about social justice. I think Shaun King called him the most woke editor in American, if that's a compliment.
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