A Quote by Woody Allen
I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
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Notice how every science fiction movie or television show starts with a shot of the location where the story is about to occur. Movies that take place in outer space always start with a shot of stars and a starship. Movies that take place on another world always start with a shot of that planet. This is to let you know where you are. Novels and stories start the same way. You have to give the reader a sense of where he is and what's happening as quickly as possible. You don't want to start the story by confusing the reader.
I did a film that I shot in 24 hours that was self-financed for $5,000. It was a feature called Looking For Jimmy that I shot with a bunch of friends. I spent eight months editing because we had 24 hours of footage that made no sense and I learned a lot about directing while editing that film.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
Don't start the day until you have it finished. Don't start the week until you have it finished. Don't start the month until you have it finished. Plan your day.
My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.
Self-editing is the way I write. Ten verses of a song and it's finished. Then we start playing it and if I see that it's too long, I'll start cutting.
If you do an original film and you want to cut a scene out you do it. But when you do a shot by shot remake you don't have that option and every scene has to work again.
You never really know as an actor; it's completely out of your control, in terms of editing, and music, and film stock, shot selection, and what takes they use.
I think a shot can actually influence a scene in a huge way. For example, comedy is always better in a two-shot. What's between the characters is what's funny. So you learn about these things as you go along.
Film is shot in fragments, and the same moments can be shot again and again until the director is satisfied.
As every golfer knows, no one ever lost his mind over one shot. It is rather the gradual process of shot after shot watching your score go to tatters - knowing that you have found a different way to bogey each hole.
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.
I come from a TV background, so for me this more like doing a freeing theatre piece because we'd go into a room and do the scene, instead of doing it as a wide shot, medium shot, and close up with only the odd line of dialogue.
It comes to the point where, if a midrange shot is there, I'm going to take it. If I'm open, I have to shoot that shot. That's a great shot for the team and myself.
Anybody that shoots a hook shot, whatever hand, I jump up and cheer because it's the easiest shot, it's the best tweener shot.
He knows all the golf lingo. You know? You hit your ball, he's like "there's a golf shot. That's a golf shot." Well of course it's a golf shot; I just hit a golf ball. You don't see Gretzky skating around going "there's a hockey shot, that's a hockey shot."
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