A Quote by Thelma Schoonmaker
I don't think you can be a great director without knowing a lot about editing.
Related Quotes
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.
To be a great director, what does it mean exactly? It's not only about a great director, but also about being able to rely on the very special chemistry that goes between them. It not only has to be a great director, but the great director has to make his relationship to you, the actor, very special.
I will say from the outset, I think if you're great, you're great from the very beginning. And because I do think it is innate and I do think it is a gift you just have, and I don't think you can - you can hone the skills of a director, but sadly, I do think that you are born a great director. I think it's just in you and it's something that is deep in you. But, I find it can be difficult working with first-time directors, but it's also moving.
Reality TV finds talented people. There are no scripts. The editing is what it's all about. Great editing makes those shows.
I think some people have blind faith in American institutions without knowing a whole lot about them and think they will stand up to Trump and are indestructible.
I think 'director' is a very broad term. I like to think of myself as the head collaborator, not the director, because I think, for a lot of people, 'director' connotes giving orders and telling people what to do.
[on editing of the films] There is always a question of time, and the director. I've worked with a lot of directors who don't mind my involvement. They appreciated it.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
One of the first decisions I made, as the director of "Hide and Seek," was that our film would be silent and use underscoring of original music that I was planning on composing. The decision was mostly predicated on knowing how time consuming the editing of dialogue can be and given the various locations we shot in, I didn't want to worry about having to mix room tones in such a short amount of time.
Without knowing about flexibility, one cannot work out strategies to deal with the enemy and prepare for changes, and without knowing about the foundation of one's own culture, one would be contemptuous of the Confucian ethical codes.
I mean, in the editing room, you sit there, and you're so happy about a lot of it. You've got these great actors, and the DP's great, and you love it... And then there's so much you're mad about. Cause you've made so many mistakes. So yeah, there're scenarios where you're like, "Ah, I wish I could change this. How do I make this better?" "No matter what I do, the scene's not working, what do I do?"
Knowing is not understanding. There is a great difference between knowing and understanding: you can know a lot about something and not really understand it.
Not only do you need great lyrics, a great message, a great story, great vocals, great chords... you also need great instrumentation, great editing, great sonics, great mixing, and great mastering. It all comes together to make something truly great, and I think each element combines together to create a powerful impact on the consumer.
There's a paraphrase about Orson Welles saying: "Great films are made by great directors and the rest are made by everyone else." I've been very lucky... before I start insulting the profession of directing, but I think a good director is everything and a bad director really is nothing at all.
Part of knowing how to think is knowing how the laws of nature shape the world around us. Without that knowledge, without that capacity to think, you can easily become a victim of people who seek to take advantage of you.
When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.
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