A Quote by Pete Hamill
You can't edit yesterday's paper.
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I write a chapter, then edit it and edit it and edit it and edit it. I don't think we mine creativity from within. It's bestowed from on high, from God.
The worst thing you can do is censor yourself as the pencil hits the paper. You must not edit until you get it all on paper. If you can put everything down, stream-of-consciousness, you'll do yourself a service.
I do like a song that can look good on a page without even being sung. I edit and edit and edit.
I edit as I go. Especially when I go to commit it to paper. I prefer a typewriter even to a computer. I don't like it. There's no noise on the computer. I like a typewriter because I am such a slow typist. I edit as I am committing it to paper. I like to see the words before me and I go, "Yeah, that's it." They appear before me and they fit. I don't usually take large parts out. If I get stuck early in a song, I take it as a sign that I might be writing the chorus and don't know it. Sometimes,you gotta step back a little bit and take a look at what you're doing.
The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won't lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don't have anything on paper.
I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.
In TV, you are much more likely to see the episode closer to the script as written - in terms of the order of the scenes - than you would in a movie, and here's why: you don't have as many days to edit. You have 10 to 12 weeks or more to edit a feature, and you have four days to edit TV. That's a huge difference.
Anyone of any age, any race, any background, any education - if they write an interesting enough book - can become a published author. What it takes is imagination, the ability to put words on a paper in an interesting, perhaps even unique way, the fortitude to rewrite, rewrite, rewrite, and polish, edit, polish, edit until the story sort of sings. I think everyone has a story inside him, but only a few have the persistence and, of course, the interest, to write it down and see it through.
[Writing] is edit, edit, edit. It's almost like getting a boat ready to go to sea. You've still got a countless number of things left to fix, but you've just got to go, "O.K., everybody get on the boat. We're going, ready or not."
I had never seen anyone edit the way that I edit before I did it, and it's just what felt right to me.
When you look at the sheer volume of paper usage in the U.S. alone, it's truly frightening: paper towels, toilet paper, napkins, writing paper. Our consumption of trees is endless.
If I tried to write long-hand, I suppose I'd never finish a novel. I edit too much as I write - the paper would be "white-out" and sharpie marks. Writing with a computer works for me, so I stick with it.
I will live this day as if it is my last. …I will waste not a moment mourning yesterday’s misfortunes, Yesterday’s defeats, yesterday’s aches of the heart, for why should I throw good after bad?
You might not write well every day, but you can always edit a bad page. You can't edit a blank page.
I shoot a scene, edit it, and then, two days later, I doubt whether or not it has turned out right. I reshoot a small part of it, go back to the first edit of it, and do all sorts of things.
I think that's all you do as an actor. You give ingredients for the edit, and the edit's the stew, and they try to make a meal out of it. That's all you are. You just throw things in. This is an idea, this is an idea.
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