Top 526 Edit Quotes & Sayings - Page 3
Explore popular Edit quotes.
Last updated on April 21, 2025.
I love improvisation. I mean, it's hard to edit, because things don't necessarily fall together - you have to find ways to give it a dramatic scope, shape. But it's so much fun.
The true function of art is to criticize, embellish and edit nature… the artist is a sort of impassioned proof-reader, blue penciling the bad spelling of God.
There is no urge so great as for one man to edit another man's work.
Throughout the life cycle we consciously and unconsciously edit the events of our life, trying to give them meaning.
Phooey, I say, on all white-shoe college boys who edit their campus literary magazines. Give me an honest con man any day.
I sometimes self-edit when it comes to auditions and go, 'They're not going to cast me, so I'm not going to do it.'
Compose with utter freedom and edit with utter discipline.
I don't card out my screenplays ever. I just have an idea I just sit down and write I don't edit.
I was very much fascinated with the technology we had that we could edit in the computer our compositions, but all the sounds that were available on the market were crap.
I'm homemade. I upload my videos in my living room; I edit everything, and I upload on my laptop. And my viewers love that about me, and they get inspired and do it themselves.
And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.
I don't read novels, but my semiotics study influenced everything about the way I read and edit and write.
When I edit, I'm not from the school of Hello, I'm a genius, so everybody shut up. I'm from the school of Let's play it once in front of an audience, and then I'll tell you where it is going
There were times, earlier in my career, where I didn't have the wherewithal to self-edit, and I probably said things and pushed the limits to places where people might be put off. But that's truly part of developing as an artist.
I would make hockey movies: I would edit together Flyers games and do highlight reels of goals or fights, which I still have to this day.
Showrunning is when you're the constant creative voice in the show. For a year-and-a-half, you are working on the scripts, you're fine-tuning them, you're the final say on the edit, the music and the cast.
It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.
If you want to edit your photos and make yourself look different, go for it. That is up to you, but in my opinion, you should always post things that you think do a good job at representing who you are.
With everything that I've done with YouTube and podcasts for so many years, it's been: you can record it, edit, and then upload that day. With the book and documentary, it's been such a longer process.
It's rare in a documentary film that you have a repetitive act. So when you do, you can shoot it in different ways so that you have more choices when you're sitting down to edit that sequence six months later.
Nothing is cut while I'm shooting. I edit between nine months and a year, and usually have around 80 hours of footage I have to get down to an 82-minute movie.
The visionary is the one who brings his or her voice into the world and who refuses to edit, rehearse, perform, or hide. It is the visionary who knows that the power of creativity is aligned with authenticity.
You always end up with too many pictures to edit and too few that you feel 'got it'.
People need to remember that people edit their pictures, they change the way they want to look.
Every film starts with two or three images. Then I try to edit these images.
All the stuff we have to edit out of our music, we put in our kids book.
I think most new writers are better off going with traditional publishers who will actually, at a minimum, edit your work, package it well, and market it for you.
You have to edit it, mix it, color grade it, there are processes and the audience doesn't care when they binge-watch a show. They think in four weeks you should get the next season.
You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.
I'm from Boston, and I get easily overwhelmed in New York, so I go to Boston and stay with my parents for a few months at a time to write, or edit, or just to cry.
Since I shoot, record audio and edit, I was able to begin the filming without hiring a crew and create a sample to show broadcasters and grant organizations.
Is it more ethical to edit embryos or to screen a lot of embryos and throw them away? I don't know the answer.
There's something about taking a film from concept to script, through production, and then to see the final thing happening in the edit phase. It's almost like a miracle in the making.
I only like doing live telly. It's great because you go in and do it and then go home. No edit, no retakes.
I spill it out as fast as I can. I don’t really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.
I have friends, some of whom are spectacularly good writers, who really want someone to edit them. I don't register that impulse. It's like the impulse for wanting a dog.
I learn something new every day - to edit, to take out all the extraneous matter and stress form, logic, and content. I try to play beautiful music.
In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.
In America, their pre-production is really long but the production is much shorter. They decide everything from the beginning to the end. They edit and nobody can touch it, actually.
When I edit, I'm not from the school of Hello, I'm a genius, so everybody shut up. I'm from the school of Let's play it once in front of an audience, and then I'll tell you where it is going.
I definitely have been known to be grossly insensitive in many different ways, you can ask the wife. To speak without a filter sometimes and not being able to edit myself with much sensitivity.
I edit as I write and shoot. Any extra line, any pause that I know will get chopped on the editing table is done away with then and there.
One of the annoyances of working for The Guardian is that, obsessed as the organisation is with its digital and social media presence and its own sense of singular importance, editors would militantly try to edit your tweets.
We stitch together our days and edit out our nights.
Architecture is like writing. You have to edit it over and over so it looks effortless
I like to edit; I like to work with other people, and that's something stand-up doesn't really have.
I spill it out as fast as I can. I don't really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.
TO preach a sermon or edit a newspaper were the two things in life which I always felt I could do with credit to myself and benefit to the world, if I only had the chance.
People try not to think about what's going on in sub-Saharan Africa. They edit it out of their daily lives. Especially Americans. We prefer a fantasy version of Africa.
The problem is when you write the album, you record all the instruments, you edit the whole thing and then you have to mix it. You start to get out of touch with the songs and it becomes math.
The actor shouldn't edit themselves or be anxious. And the actors that I admire are always the ones who are inventive and their imaginative life in free-willing. It's a director's job to go, "No here, don't do that, go there."
In writing scripts now, having made a film, I'm much more conscious of what it means to shoot and edit a movie, and that affects the writing.
Write like you're in love. Edit like you're in charge.
I think it's important for us not just to edit the culture that capitalism creates but to create the material basis for a culture that we want.
There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.
I write to find what I have to say. I edit to figure out how to say it right.
I can't edit the materials I work with. My remit is to work with nature as a whole.
On YouTube, we were our own masters. We could sit on an edit until we got it right, we could choose quality over quantity.
There's editing, and scripts to read and edit, and casting, and all the elements of production that just sort of take up the normal downtime that you would have as an actor. So there's not a lot of that for me.
I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'
