Top 858 Editing Quotes & Sayings - Page 7

I've always been a relaxed person on set, but I think the main thing is I think about it from an editing point of view way more than I did before.

A 3K word story might well be done in some caffeine-and-nicotine-fuelled 36 hour session, and at the end of it, there'll be a few passes of editing required, but I basically have a polished draft.

Writing is probably one-fifth coming up with the stuff, and four-fifths self-editing again and again and again.

I do a lot of editing and switching around and putting little pieces together to get the right mood and personality, and it takes me forever to get a song finished.

Helping set the day's agenda and deciding what we used and editing it, that was a journalistic high point. I liked reporting as well. Just doing the news - the live performance - wasn't important. Working on the desk was.

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.

When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.

When you're rereading or editing your book and you start to expect that this work is going to be reviewed, and you can sort of tell which line is going to show up in reviews.

The lessons of slushing and editing build up over time, and you're not necessarily thinking about them while you're working, but they're in the back of your mind, probably influencing your choices.

I can hire out for editing, proofreading, formatting, and cover design, and those are fixed, sunk costs. Once those are paid, I can earn 70% on a self-pubbed ebook.

I'm proud of the way I rearrange and put things together, like a chef who makes a great meal, or a filmmaker who puts together a story - it's casting, editing, cinematography.

If I hadn't met Scorsese, I would never have become a filmmaker. He has taught me everything I know about editing and has given me the best job in the world.

When I did 'Gilbert Grape,' Lasse Hallstrom let me be on the set with him and in the editing room and in the casting sessions and so on. And so I got a firsthand, rather intimate, high-pressure look at how to make a film.

'Waiting For Guffman' was different right away from 'Spinal Tap,' because we didn't show the interviewer. That person became invisible immediately. That created a different way of tuning it and ultimately editing it.

There's some things that you learn as you're shooting, and as you're editing that are key, because when you start you don't have the brain that can finish it. You don't really know what it is, and that's the key job; figuring out what you actually have, not what you're dreaming of having.

We Need To Talk About Kevin,' as an adaptation, was pretty major. It's a long book, and it's in letters, so it was a real editing experience to boil that down and make it cinematic. I learned a lot doing that film.

I enjoy roles that involve a task outside of my natural capabilities - for example, playing a number of musical instruments or sword fighting or cutting a suit. You have to look as though you can do it, without too much editing.

I put myself in the place of the listener when editing my writing. The last thing that I want to do is be preached at and told who to be or what to think when listening to an artist. However, I do want to be inspired. There's a fine line.

'Close To The Edge,' we actually had played it from beginning to end before we recorded it in the studio. So we knew how long it was, and we knew it would fit on the album fine, so we didn't do any editing.

I have an amazing team; I have amazing producers; I have amazing writers, but at the end of it, it's me making the decisions on the writing, the tone, the editing.

Most of my material is , it doesn't necessarily involve a lot of editing. So even the show with the World Meeting of Families in Philadelphia, I don't have to worry about some of the material being inappropriate.

Many years ago, I had the pleasure of editing a book by Joan Crawford, who, like Norma Desmond, was still a big star; it was just the movies that had gotten smaller.

When I write a story or think of a scene, I always play some song in the background. Sometimes when I don't add a song at the writing stage, I do it while editing the film.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

I always said it was a privilege to end up on the television. It wasn't my ambition; I fell into editing magazines and writing about cars, and then I ended up on the telly.

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.

Songs are like my children, from the concept phase, to writing, to recording, then editing and all of the work that went into it and the millions of listens. Then you move away from it and you never see it again.

I think that anybody that wants to direct, particularly writers, should spend some time in an editing room, whether it's a film of theirs or someone else's, or shoot their own picture on video and cut it.

I try to just save a fresh, clear head for whoever I'm working with, so hopefully it's helpful that there's someone who doesn't have to sit in the editing room for 12 hours a day, and who's blinded by the massive footage and options that they have.

It's like you take these great actors and put them in an aquarium of life and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.

I've lived through the shooting of movie, the editing and every other process along the way, so it's not for me to really judge it. I'll probably look at it again five years from now to get a fresh feel for it.

When you are editing, the final master is Aristotle and his poetics. You might have a terrific episode, but if people are falling out because there are just too many elements in it, you have to begin to get rid of things.

There are comics who choose to be controversial, and people have to make a judgment call. You either watch it or you don't. It's possible to be funny about anything, it just depends on how you approach it and if you've got good self-editing skills.

I get up to write while it's still dark, 5 or 5:30. I start by editing and rewriting everything I did the day before, and that gives some momentum for the day.

You can't act for the editing. You have to leave that to him. So you just go in and do the scene the way you think is right or whatever you're directed to do, and leave the rest of that technical stuff up to the director.

The best moments can't be preconceived. I've spent a lot of time in editing rooms, and a scene can be technically perfect, with perfect delivery and facial expression and timing, and you remember all your lines, and it is dead.

I basically went into business for myself. But it never amounted to anything. I learned a lot about editing and dubbing by watching all the professionals do it, but I never got a job out of my imposition.

The editing process, to use a slightly grim analogy, is like the slow suffocation of lots of babies. It's like, which finger do you want to cut off first?

There are plenty of paths to becoming a writer, but I think the most reliable ones involve total commitment: writing for magazines and newspapers, teaching writing, editing books, representing authors.

You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.

Film editing is now something almost everyone can do at a simple level and enjoy it, but to take it to a higher level requires the same dedication and persistence that any art form does.

Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience.

I always try and bring screenplay, shooting and editing into a sort of symbiotic - as close into alignment as you possibly can get them, consistent, obviously, with the resources that you've got and the time you've got available.

A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.

Writers are in control of editing processes - making a sentence better, cutting out a paragraph. But the initial outpouring has very little to do with conscious control or manipulation.

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.

I think I was never home when I was directing, because you're either prepping, shooting, or editing, and then acting at the same time. It's really time-consuming, but it was great fun.

I would bring Patti [Smith ] in to the editing room [working on the Dream of Life] and say, "This is a great moment for a voiceover, or a poem," and then we'd bring in some sound design.

Editing requires you to be always open, always responding. It is very important, for example, not to allow yourself to want the writer to write a certain kind of book. Sometimes that's hard.

I have an amazing team, I have amazing producers, I have amazing writers, but at the end of it, it's me making the decisions on the writing, the tone, the editing.

While there are certainly food-focused content out there on the Web and on TV, most of this content need to weave through many layers of editing before it reaches the viewer.

When I was 11, at prep school, I was starring in the school play, editing the school magazine and standing as Conservative candidate for the 1959 mock election.

When you're in the editing room, as a director, you get the opportunity to look at your work. As a writer, you can rewrite. But as an actor, unless you're watching playback, you really rely on the director to help you.

I was freelance proof-reading, freelance editing, creating illustrated slides for doctors' presentations - just so I'd have enough money to take the time to write. That's how I got by.

I think Gram did his best work in co-writes. Sometimes when you're working with one other person, it's such a magical thing. You're editing each other and you're trying to create that one spark.

Although Patterson Beams was not my first plug-in, I knew from the beginning that I would write it, because the single biggest time consuming factor for me was editing each beam manually.

People think that writing is writing, but actually writing is editing. Otherwise, you're just taking notes

I believe there's a platonic ideal for every book that is written, like there's the perfect version of the book somewhere in the ether, and my job is to find what that book is through my editing.

So, while I gave up the notions of publishing at that time, I never stopped editing and refining that book. A few years later, in 1987, I thought I had it ready to go out again.

I think we filmed a lot of the recording and it would be nice to do something with it but you know, videos are tricky because we know how to make albums but I'm not very good at video editing .