Top 1200 Editing Room Quotes & Sayings - Page 20

I confess that Roy was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.

We don't have a clue what's really going down, we just kid ourselves that we're in control of our lives while a paper's thickness away things that would drive us mad if we thought about them for too long play with us, and move us around from room to room, and put us away at night when they're tired, or bored.

Whenever I finish a film, I feel that this is the worst film that I have made. This is bound to happen because while writing, directing and editing a film, I would have lived it 5000 times. Naturally, one tends to loose objectivity.

I want to make a world more magical than my own. I don't care if it makes sense, I don't care if it's ridiculed or if, rather than a neat round planet that goes around forever, it ends with a cliff that falls off into nothing. I want to have my eyes wide open, and I want to see this room and at the same time, not this room.

There's always someone who's going to interpret my material as racist, but it's not. Racism comes from intent and power. A racist will tell a joke about a group of people only when they're not in the room. I'll talk about a group of people only when they're in the room.

When I see my movies on the editing table, I do think I could have done them a certain way. The satisfaction is never there even when I'm directing a film. You need to have the feeling that you could have done this better.

Could I do with a little life editing? Would that give me a little more freedom? Maybe a little more time?

A few more days, and this essay will follow the Defensio Populi to the dust and silence of the upper shelf... For a month or two it will occupy a few minutes of chat in every drawing-room, and a few columns in every magazine; and it will then be withdrawn, to make room for the forthcoming novelties.

When I made YouTube videos, I am the one who's uploading it, I'm the one who's editing it, so I'm very in control of what I'm sharing and not sharing. Whereas in music, it's a lot more of pouring my heart out and kind of just putting it out there for the best.

When I'm editing, it's such a tough call, and I get challenged on it all the time. You've got to go with your gut - sometimes when you look at a photograph, you just know it's the shot. Sometimes it's about the connection, or about the simplicity of the composition.

I find that the majority of the year, I don't spend acting. I spend it either writing or editing or producing, or putting things together. So it's as shocking as it is tragic. I really enjoy it. It's a valuable skill set. I certainly feel like more of a grownup.

You have to have more people who don't look like you in the writers room. I try to have some people who don't look like me in my writers room. I think it's important to have a group of voices, of people who can dissent.

A woman with confidence is hypnotic. A smile is mesmerizing. Presence, openness, a sense of humor—these are all things that make a woman attractive. We’ve all experienced the presence of someone who walks in and lights up a room. It’s never about their looks but about their energy. Allow yourself to light up the room by being your beautiful self.

Women's humor seems to be a little more supportive. It's just kind of trying to make the other one laugh through funny voices and kind of talking about other people. I respond to that. I feel less like I'm going to get beat up in a room full of women than I do in a room full of guys.

Each movie I make has its own heroes, and the two heroes for me in 'Arrival' are Amy Adams and Joe Walker, the editor. We worked very, very hard, and it was, by far, the longest editing process.

Spending a week aboard an aircraft carrier as a 10-year-old was pretty wild. I wandered into the war room - I'm still not exactly sure what that is, but apparently it's not a place that a 10-year-old should be. I remember them paging my dad to have him come get me out of the war room.

Don't give anybody up." He stroked her. "Or leave anybody out. Me and you both left her out today, and I'm ashamed for us." "There just wasn't room in today for it ... He said, "There's room for everything, and time for everybody, if you take your day the way it comes along and try not to be much later than you can help."

In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.

I confess that Roy [Stryker] was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.

This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.

Because the Pang brothers are twins, they would rotate days on set. One of them would be editing, and one of them would be shooting.

My wife convinced me to try doing the restorations digitally. I thought I could learn the photo editing software over the Thanksgiving weekend. It took me until May of the next year before I sold anything I did with it.

On how he spent his first Hollywood paycheck "I think my first big purchase was actually for my mom. She had one of those '90s TVs in her living room that's like a 10×10 brick, so I purchased her a flatscreen for her living room.

The (editing) work was like peeling an onion. The outer skin came off with difficulty... but in no time youd be down to its innards, tears streaming from your eyes as more and more beautiful reductions became possible.

It's kind of hard when you're on the road all the time, from one show to the next, from one hotel room to the next hotel room, it's kind of hard to think about everything.

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 have a company where I'm trying to get projects off the ground. Me and my partner Madeleine Sackler, we just shot our first feature in a maximum security prison where about 95% of the cast were incarcerated men. We're editing that and there's a doc going with it.

I've stayed in so many hotel rooms that I'm shocked if, when I stay in a hotel room, the hotel phone isn't on the desk. Then I'm like, "This isn't a real hotel room." If there's not outlets next to the desk, or if they have an iPhone adapter for an iPhone 4, that's when I'm sitting there annoyed. I understand that it's ridiculous, but that's just me spending way too much time in hotels.

The records that I like, they have life and warmth and soul in them. Like the slap back on Scotty Moore's guitar on 'Mystery Train.' You're not gonna get that in a computer. You're gonna want a live room, you're gonna wanna bounce the tape, you're gonna want real musicians, in a room, vibin' off of each other.

I no longer do a film for the wrong reasons. I have to be convinced ethically and morally. Both the director and I have to be on the same page. There are just five songs in most films these days, and they have to be amazing. There has to be a twist in the screenplay. The editing has to be crisp. Your hard work should show, but effortlessly.

I only like the live audience. I don't even like to do standup where it's being filmed. Because it affects the way the audience responds to what you say, because it makes them uncomfortable. You have to perform in a light room, and I prefer a dark room. But I love to perform, and I don't really see myself doing any television at all.

Virginity is now a mere preamble or waiting room to be got out of as soon as possible; it is without significance. Old age is similarly a waiting room, where you go after life's over and wait for cancer or a stroke. The years before and after the menstrual years are vestigial: the only meaningful condition left to women is that of fruitfulness.

I think when you start analyzing trends and start making shows for a particular audience, you are making a fatal move. I think that's why people are doing too many revivals, that's why there's a plethora of rock musicals. There's room for everything, but not room for too much of anything.

The state of mind of a fighter is so important. I don't like to see a fighter stay locked up in a room. Sometimes it works against them. They think and they worry. They dwell, sitting in that dark room. You come back and they're psyched out. I like to see boxers eat and then walk, mingle with people. You have to have a certain amount of movement.

... up to this date, I have never been shut up in a separate room, or hedged off with any observances. My study, all the study I have attained to, is the little 2nd drawing room where all the (feminine) life of the house goes on; and I don't think I have ever had two hours undisturbed (except at night, when everybody is in bed) during my whole literary life.

I never go to the monitor. I just look at the camera monitor and my favorite part of all of the directing, except for the writing and editing of it, is right when we're rolling and they do lines and I'll say "Try this, try this, try this."

For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.

Newspapers and magazines have been valuable to us precisely because they apply filters to information, otherwise known as editing, and often the Internet seems valuable for exactly the opposite reason: You can get your news without a filter.

I wanted to create a film that hadn't been created yet. I studied film for many years. The Room is almost 20 years of my work. You see, I understand young people unlike the media. I don't expect people to love The Room 100% but I respect that people enjoy it and that maybe it opens certain doors for them. That's what makes me happy.

I was crying when I was editing [Beacher] but I stopped all the screenings years ago because I had a headache but then I had seen it again... Well I always cry at the same place, when they play that song "Wind Beneath My Wings". It gets you.

My roomate at 'Harvey' is this guy Morgan Spector, an actor in town, and I've taught him Hive and Fastrack. Others have played For the Win, but Cards Against Humanity has been the dressing room hit. We've had the understudies, even Jim Parsons playing it. Our dressing room is practically sponsored by Cards Against Humanity.

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.

Editing is very satisfying process. You spend hours working on something and then you get to watch it. It's immediately satisfying where everything else is just kind of waiting and waiting and waiting.

My mind was always very cluttered, so I took great pains to simplify my environment, because if my environment were half as cluttered as my mind, I wouldn't be able to make it from room to room. This system has just worked for me, even though I've had to sweat over every word. It's just my style.

You should not actually stay in bed for very long awake, because your brain is this remarkably associative device, and it quickly learns that the bed is about being awake. So you should go to another room - a room that's dim. Just read a book - no screens, no phones - and, only when you're sleepy, return to the bed.

But we have yet to make peace basic to our education. The most important subject in the world is hardly taught at all. In the spirit of this passage, the editor has taken the liberty of editing Mr. Cousins' language to make it more gender inclusive.

If you clear your mind, you can fill it with your character. If it is cluttered, if it is anxious, if you're thinking about your date, about your dinner, about filling your refrigerator, there's no room. There's no room for the character you're trying to build.

Composing easy? I find it easy if - big if - the idea is right, if I have the right collaborator, and if my collaborator is in the room. I like my collaborator to be in the room.

And old Dave, he'd go up to his room, y'understand, put on his green velvet slippers - I'll never forget - and pick up his phone and call the buyers, and without leaving his room, at the age of eighty-four, he made his living. And when I saw that, I realized that selling was the greatest career a man could want.

I don't think about the reader when I'm writing, but I do when I'm editing, of course. For instance, I self-consciously didn't want to do anything to increase the divide between mothers and nonmothers - I think that divide is so horrible and destructive and unnecessary.

Before I go to those teams, I say, 'Hey, I'm a Muslim and I have to pray five times a day.' And they respect it so much that they give me a prayer room. So before the game, after the game, before practice, before I fly out, I can go to that room whenever I want and pray.

But there's something about the simplicity of Auschwitz... there's just nothing. There's just photographs, there's a room full of limbs, a room full of hair, and then you go into the place where the gas chambers were. You walk down these halls and the efficiency of it is so inhuman. The place is so powerful, just for its utter bald, bare simplicity.

I spend a lot of time in preproduction working with authors, and a lot of time in postproduction.: editing, music, all that sort of stuff. Casting. On the set there's not a lot for me to do.

Everyone loved my father. He was so nice that people took advantage of him. We were lower middle class. I slept in the hallway on a cot that rolled away during the day, and my younger brother and sister slept in my parents' room. My goal as a kid was to someday have my own room and to own a car - and I wanted to be able to take care of my parents.

I know what she used to do sometimes. She kept her best cape she wore on the street in there, and she used occasionally to go up there to get it and to take it into her room. She kept a great deal in the guest room drawers.

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.

My best capacity is to edit. If anything, I am a specialist at editing: my usual approach is to record a song very long. In the beginning just jam, jam on and on. Then break the song and play with it.

Outside, you don't hear a single bird, and a deathly, oppressive silence hangs over the house and clings to me as if it were going to drag me into the deepest regions of the underworld.... I wander from room to room, climb up and down the stairs and feel like a songbird whose wings have been ripped off and who keeps hurling itself against the bars of its dark cage.

I don't shoot movies quickly because I get a lot of coverage and a lot of angles, so we have all the pieces in the editing. I do a lot of takes, but it's because I'm looking for something.

I don't do any research. It's all about gut. Editing - it's always about gut.