A Quote by Lydia Davis
I'm a fierce editor! I don't edit out things that I began by saying, usually. The editing is on the micro level - a comma here, a word there.
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It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.
In terms of my career, it began in earnest when I was living in Boston. I started doing my own films, working initially as an editor and editing assistant - briefly - at WGBH, as an editor on other people's movies, trying to get some experience under my belt, but eventually just doing my own short films, doing them my way.
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 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.
I think there's a lot of benefit in letting people vent. When I was on the Manchester Evening News, we got 500 letters a day, and part of my job as editor was to edit them. And I thought that was one of the best things in the newspaper, and it was instituted by an editor known as Big Tom, who said 'this is the voice of the people.' And he was quite right.
Sometimes the most difficult thing you can do as an editor is not make a single note - the idea that everything and everyone needs editing is, in reality, a fiction. I've gotten pieces where I thought, Well, I could do this or that, or change this word, but in the end, I leave it. Changing something is not necessarily equivalent to making the piece more true to itself, which is the point of editing: it's just changing it because you feel you can or should or must.
With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'
I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.
The editing of moving pictures is geared toward the single image. You'd have to edit things in new ways.
If you want to make movies you need to think on a micro-micro level and figure out how to make them for nothing with people who really care about your movie and really want to make it.
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.
Your job as an executive is to edit, not write. It's OK to write once in a while but if you do it often there's a fundamental problem with the team. Every time you do something ask if you're writing or editing and get in the mode of editing.
I can edit into infinity. It's such a joy. I'd probably edit until the last word. Until there's only one word left.
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.
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.
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