A Quote by Martin Short
All you're trying to do in an improvisation is get as much material as possible for the editing room.
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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.
Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.
Movies get found in the editing room. The movie that you make is not always necessarily the movie that comes out of the editing room. The trick is to perfect the movie that you have and make it the best version of what you've shot, regardless of what the intent may have been.
The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.
There are editing procedures for talks just as there are editing procedures in jazz improvisation.
You just don't know when you get in the editing room what you will need as a link or a tool for a transition. If you're in a room, and there's a kettle boiling, get a shot of it. Don't worry if people think you're nuts.
I think what happens is that we're so busy as pastors that we never get around to trying to turn that material into a book. It's a shame because there is so much good material out there that needs to be published.
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.
My forte is editing and I am most experienced in that. I love the challenge of playing with material and imagination while editing.
I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
When I say 'publishing is the new literacy,' I don't mean there's no role for curation, for improving material, for editing material, for fact-checking material. I mean literally, the act of putting something out in public used to be reserved in the same way.
Improvisation is almost like the retarded cousin in the comedy world. We've been trying forever to get improvisation on TV. It's just like stand-up. It's best when it's just left alone. It doesn't translate always on TV. It's best live.
What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.
With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.
The older you get and the wealthier you get, the more complicated life becomes. That's why I have as few material assets as possible. Every material thing you have is more hassle.
For better or worse, editing is what editors are for; and editing is selection and choice of material. That editors newspaper or broadcast can and do abuse this power is beyond doubt, but that is no reason to deny the discretion Congress provided.
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