Top 1200 Editing Room Quotes & Sayings

With film, so much is in the director's hands. Once something is cut together - unless you're in the editing room - you don't really remember what the alternatives are.

All you're trying to do in an improvisation is get as much material as possible for the editing room.

Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.

There's something cathartic about swearing 150 times after spending ten hours in the editing room.

I love being in the editing room and playing with tempo and with the rhythm of shots.

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'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room.

David and I got cut out the editing process on that. We were able to affect it more than not. We sent in our notes, we were able to see cuts. We weren't allowed to see dailies and we weren't allowed to sit in the editing room and just work.

Teaching regularly has made me an even more adept reader, I think. The kind of teaching I do is more like editing than anything else. The kind of editing book editors used to do before lunch. The kind of editing I used to do as a radio documentary maker.

As a young filmmaker, I shot a lot of stuff because I wanted to make sure that I got everything, but now I've gotten much more precise with my shooting. Editing is a whole other layer because then, sometimes you realize characters don't even need to say this or that. It becomes an issue of exposition, and over-explaining something. In the script, I'd reinforce certain things about what I wanted people to know two or three times, but in the editing room, I'd be like, "I only need to say this once, maybe twice."

The first thing I do in the editing room is the 'radio edit,' where you listen to the dialogue and don't even look at the visuals. The rhythm, the music of the comedy, has to work.

You just don't know when you get in the editing room what you will need as a link or a tool for a transition. If you're in a room, and there's a kettle boiling, get a shot of it. Don't worry if people think you're nuts.

I love editing, and I don't mind when things are edited and you can see the editing.

I used to sit on the editing table to see where I may have gone wrong because after editing, only the good parts go on screen.

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.

The bottom line is that your performance is made in the editing room.

I don't like to do any editing on guitars. I think the more editing you do, it just takes away from the feel of the performance.

Reality TV finds talented people. There are no scripts. The editing is what it's all about. Great editing makes those shows.

I remember walking into the editing room when I was a junior in college, and I watched the guy make cuts, and I didn't know what the hell was going on. He was just putting these shots together and telling the story, and it was amazing.

The film is made in the editing room.

Of course, when you're making a documentary, you don't have actors, but nonetheless, there is a writing process that does take place in the editing room.

Whenever I'm not shooting, I'm in the editing room with my footage. While the crew is taking 15 minutes to an hour to set up the next shot, I'm behind the Avid, putting the flick together.

Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.

Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.

Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing.

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.

I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.

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.

The great thing about doing physical comedy for film is that if it doesn't work you're not exposed. It ends up on the editing room floor, so it gives you a lot more room to experiment I guess. But I really enjoy doing it. I'm very comfortable tapping into my inner idiot.

Sometimes you just create a joke out of thin air in the editing room. I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.

The problems I have with a flawed script are always revealed in the editing room.

You must stop editing--or you'll never finish anything. Begin with a time-management decision that indicates when the editing is to be finished: the deadline from which you construct your revisionary agenda. Ask yourself, 'How much editing time is this project worth?' Then allow yourself that time. If it's a 1,000-word newspaper article, it's worth editing for an hour or two. Allow yourself no more. Do all the editing you want, but decide that the article will go out at the end of the allotted time, in the form it then possesses.

My forte is editing and I am most experienced in that. I love the challenge of playing with material and imagination while editing.

The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.

If I walk into the editing room, it's six hours lost. I'm massaging frames. I'm, like, 'Oh, take six frames off that shot. Hit the music cue right there.' I will drive everybody crazy if left to my own devices in that room. So I try to do everything I can by staying out of the way.

Editing is hard but nowhere NEAR as tough as facing that blank page and blinking cursor each day. You're all alone and no one else can do it. At least with editing you have someone in the trench with you.

Because the filming process was so organic and there was no script, the film [Dream of Life] was literally telling us what it wanted to be in the editing room.

Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.

I always feel like the editing room is like coming into the kitchen. What kind of a meal do you make from there? It can be anything.

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 love the idea that the editing room is the final time you write. You should still be creatively solving problems even at that point. It's not really until you're locked that you can call it quits.

Sometimes you just create a joke out of thin air in the editing room. So I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.

In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.

What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.

Paris is a beautiful city to walk around in. And, you know, all the obvious things: I like the museums, I like the theater, I like the dance. And it's manageable. The food's good. I know a lot of interesting people here. I lived in Boston for 50 years or more. Wherever I am, I'm usually holed up most of the time in the editing room, and so, when I leave the editing room, even if I just take a walk, it's gorgeous. And I walk everywhere. I'm a victim of the seduction of Paris.

Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing

I was fascinated by the effects that could be achieved by editing. The cutting room became a magic workshop for me.

You have to find the movie in the editing room, and it can't be four hours; it has to be two hours.

You have to know what you're shooting. Don't just make your movie in the editing room and just get everything you can on the day.

I was sleeping on editing room floors for $300 a week.

Editing was hard for me. It was hard to be in a room by yourself and not have that collaborative spirit. Comedies are really tight and timing is everything.

I'm too big a fan of rhythm and editing. I'd much rather my editing be brave than my shooting.

I don't know - I haven't seen any of my movies after I finish them. I leave the editing room; I don't go back.

I think I learned most from editing, both editing myself and having someone else edit me. It's not always easy to have someone criticize your work, your baby. But if you can swallow your ego, you can really learn from the editing.

With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'

The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.

A lot can change in the editing room.

Comparing filmmaking to a plastic model, shooting is the process where you mold and color each piece, and editing is where you build a finished whole from the pieces you molded and colored. Obviously, the latter is the most enjoyable part in the making of plastic models, so editing is the process in filmmaking I enjoy the most. But at the same time, editing can be a painstaking task, too.

Feature filmmaking is a different kind of complication as documentary comes in the editing room.

It's not writing in the traditional sense, but I've always said that the writing process continues on the set and even into the editing room.