A Quote by Lee Unkrich
I just ended up focusing on film editing as I was getting my career started. I'm very passionate about editing and will continue to edit for the rest of my career, but it's not like that was all I did and then somehow I grew into directing a movie.
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I grew up loving watching movies, and at a certain point, I started to become fascinated with making movies. Then I went to film school, and I got to dabble with different aspects of moviemaking, and I ended up settling heavily into editing - editing was what I was really adept at, had a passion for.
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 love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.
Once I'm in the editing room, forget about what I intended to shoot. I take a cold, hard look at what I really did shoot, and then I edit that because, if you try to edit what you intended and you missed somewhere, that will show up.
I did a film that I shot in 24 hours that was self-financed for $5,000. It was a feature called Looking For Jimmy that I shot with a bunch of friends. I spent eight months editing because we had 24 hours of footage that made no sense and I learned a lot about directing while editing that film.
I won an award for my debut film. However, my career went up and down after that but I kept getting work. I did whatever excited me and did not think which role or film will change my career.
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.
Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.
I remember doing one day of work, and I was so good I ended up doing 25 days on that movie. And all of it ended up on the editing room floor. That was my first Hollywood lesson: Just because you filmed a movie doesn't necessarily mean that you're in it.
I watched a lot of movies from all over the world. The Russians were very good at editing. They were specialists in editing. The Man with a Camera, if you know that movie, is incredible. I still don't understand how it works. It's a movie with no script, no actors and still it works. It's really good. It's really about editing.
I think I learned most from editing, both editing myself and having someone else edit me. It's not always easy to have someone criticize your work, your baby. But if you can swallow your ego, you can really learn from the editing.
In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.
Once you start to realize that a film is the sum of its editing, then editing is the thing you're always looking at.
In the very beginning, women were editors because they were the people in the lab rolling the film before there was editing. Then when people like D. W. Griffith began editing, they needed the women from the lab to come and splice the film together. Cecil B. DeMille's editor was a woman. Then, when it became a more lucrative job, men moved into it.
[ Digital revolution ] only has allowed me to work faster, editing digitally, which I'm doing right now, a film on volcanoes. I can edit almost as fast as I'm thinking, editing with celluloid means always searching for this little reel of film, and number it, and scribble on it with some sort of pens, and gluing it together, and working on a flatbed. It's much, much slower.
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