A Quote by Topher Grace
I don't want to be an editor - I want to be really forward about that. I would be a horrible editor.
Related Quotes
Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write - I have a “story by” credit on one film I did. And I don’t want to edit at all.
I don't want to be an editor! I don't want to direct; I'd be a horrible director. I don't want to write - I have a 'story by' credit on one film I did. And I don't want to edit at all.
As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting, I'm just aware in the back of my head what an editor might want.
I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.
As we've grown 'The Daily Muse' and met contacts who want to collaborate with us, knowing who does what has helped us be clear on who we want our partners to connect with - and makes us look buttoned up, too. SEO firm? Talk to our COO. An editor from the 'Huffington Post?' Meet our Editor-in-Chief.
You can use any editor you want, but remember that vi vi vi is the text editor of the beast.
Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.
I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. If you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. But if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.
I don't like a kind of workshop that is about editing--I don't want to sit there and be an editor. I don't want to tell someone how to "fix" a poem.
As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting that, I'm just aware in the back of my head what an editor might want. And also, the problems editors run into when trying to edit performances - it helps me head that off at the pass a little.
I used to be an editor and I was editing young adult series. I didn't really like the books that I was reading, so I decided that I would write a book about something I'd want to read if I was 16. It turned into a Cinderella story... I developed a proposal and the characters of 'Gossip Girl' for my job.
You don't want to depend on an editor. If you want to regret something for the rest of your life, you want to make sure you're responsible for it.
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
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