A Quote by Martin Scorsese

I go through periods, usually when I'm editing and shooting, of seeing only old films. — © Martin Scorsese
I go through periods, usually when I'm editing and shooting, of seeing only old films.
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
Like Picasso, I go through blue periods, green periods, or grey periods.
I made shorts films, learning the dos and don'ts. Most importantly, I've been editing all these short films. Nothing can teach you filmmaking like editing can.
If you give the same 200 frames to 200 different people, they'll all probably pick a different frame. The key is editing. Be intuitive enough to be shooting at the right moment, and when you're seeing the action happening just as you want it, shoot. And in the edit you have to go with your gut.
As a three shooter, seeing one go through the net, that's all you need to just be shooting it confidently again.
A movie is a creative process from its conception, through its writing, to its execution, to the editing. I think with the best films there is some kind of contribution from one person all the way through that. The best films are made by people who write, direct, and edit, so there's continuity.
I'm too big a fan of rhythm and editing. I'd much rather my editing be brave than my shooting.
We go through periods of turmoil in our nation's history, and one of the remarkable things about the United States is that we seem to keep making our way through those periods.
Even after forty years of directing, shooting and editing films, when I collaborate with a male partner, people still perceive the man as the primary filmmaker.
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.
One day, I read an extremely vague ad looking for someone interested in working in film. Seeing as I loved watching films, I replied, and I found myself working for this guy who did his own personal editing of scenes from Antonioni and Fellini films.
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.
And so you try your best. Sometimes you go in with one thing, with one desire and come out with something else. In the case of 'The Aviator' it was to create a Hollywood spectacle, but by about the second or third week of shooting you just want to literally survive it. Because don't forget, I also go through the editing process too, and when the film is released I have to talk about it. So, I take all of that very seriously.
I used to sit on the editing table to see where I may have gone wrong because after editing, only the good parts go on screen.
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.
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