A Quote by Thelma Schoonmaker
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.
Related Quotes
Editing is a natural extension of collage making. It's actually one of the few areas that women were able to excel in in the film industry from the beginning.
Editing is a natural extension of the collage making. It's actually one of the few areas that women were able to excel in in the film industry from the beginning.
In the beginning the church was a fellowship of men and women centering on the living Christ. Then the church moved to Greece where it became a philosophy. Then it moved to Rome where it became an institution. Next, it moved to Europe, where it became a culture. And, finally, it moved to America where it became an enterprise.
The way I work is that I never let people do an assembly. I don't like it because it shapes the film in a way that I can't really control. To me, editing is making the film and it's a huge process and editors are under-rated.
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.
Men didn't like to empty bedpans, so we made women nurses. Then men didn't like to do the administrative stuff, so women were allowed to become secretaries. That's the way they entered the work force. Then we began to educate them because they had to be educated. But it wasn't until after World War II that most of the great universities of this country became coeducational.
I got a job in the tear-sheets department, ripping up magazines like People, Fortune, Sports Illustrated, and Time, and delivering the editorial pages.... So I began to use a camera to make fake photographs of the ads. By re-photographing a magazine page and then developing the film in a cheap lab, the photos came out very strange.
There are more women editors than people realise. I think we're more able to keep our eye on what the film needs. Between men, sometimes it's a real ego battle, and that's very bad for the film.
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.
We had a moment in the '40s and '50s, where female characters were very strong in film, where these incredible roles were written for women like Joan Crawford, like Bette Davis. But then there was a space of time where - I don't know why - it wasn't like that. It became difficult for women to find certain roles after a certain age.
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
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.
Once you start to realize that a film is the sum of its editing, then editing is the thing you're always looking at.
I just ended up focusing on film editing as I was getting my career started. I'm very passionate about editing and will continue to edit for the rest of my career, but it's not like that was all I did and then somehow I grew into directing a movie.
If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
I first came to cinema as a passionate filmgoer, when I was a child. Then, when I was a very young man, I became a film critic precisely because of my knowledge of cinema. I did better than others because of this. Then I moved on to screenwriting. I wrote a film with Sergio Leone, 'Once Upon a Time in the West.' And then I moved to directing.
Related Authors
Andre Leon Talley Quotes
American
Editor
Anna Wintour Quotes
English
Editor
Bari Weiss Quotes
American
Editor
Carine Roitfeld Quotes
French
Editor
Claire Saffitz Quotes
American
Editor
Denis Diderot Quotes
French
Editor
Diana Vreeland Quotes
American
Editor
George Horace Lorimer Quotes
American
Editor
George Jean Nathan Quotes
American
Editor
Heather Mac Donald Quotes
American
Editor
Joanna Coles Quotes
American
Editor
Jon Meacham Quotes
American
Editor
Kevin Kelly Quotes
American
Editor
Lewis H. Lapham Quotes
American
Editor
Susan L. Taylor Quotes
American
Editor
Tina Brown Quotes
American
Editor