Best 420 of Editing quotes - MyQuotes
I get very, very anxious on the set. I have a thousand ideas and I don't censor myself. I wind up cutting some of them out in the editing room... I shoot [needless footage] and then don't use later on in the process.
One of the hardest things for a writer to do is delete words.
To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.
Only God gets it right the first time and only a slob says, "Oh well, let it go, that's what copyeditors are for.
The momentum of production keeps you from giving up, so it's really the editing and writing phases where things can look bleakest.
I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.
I write quickly with a sense of urgency. I don't edit myself out of existence, meaning I'll try to write 50 or 60 pages before I start rereading, revising and editing. That just helps with my confidence.
I can't drag myself away from 'Final Cut Pro.' It is a digital video editing system. I am obsessed with it, but I am always away from home, and I can't use it.
If you're working on a computer and you're editing bass, it looks like a warm curvy, sort of feminine object.
I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.
Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.
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?
Merely because you have got something to say that may be of interest to others does not free you from making all due effort to express that something in the best possible medium and form." [Letter to Max E. Feckler, Oct. 26, 1914]
Richard Chenevix Trench
Grammar is the logic of speech, even as logic is the grammar of reason.
With chemical film, it was possible to alter photographs, but you had to be an expert. That's not true any more. The LA Times fired a photographer at the beginning of the Iraq War for editing two shots together. Photography is crumbling. Certainly it is for the newspapers a bit now, isn't it? There will be painting again, absolutely!
There were a lot of unique challenges in producing the film, such as the logistical issues inherent in producing a long-term verite film in Pakistan, dealing with Urdu and Punjabi dialogue with an English-speaking editor and all the difficulties in recording, editing and clearing so many music tracks.
Teen problem novels? I can go through them like a box of chocolates. And there are fantasy books out now that need a lot more editing. Fantasy got to be so popular that people began to think 'We don't need to be as diligent with the razor blade,' but they do.
One of the first decisions I made, as the director of "Hide and Seek," was that our film would be silent and use underscoring of original music that I was planning on composing. The decision was mostly predicated on knowing how time consuming the editing of dialogue can be and given the various locations we shot in, I didn't want to worry about having to mix room tones in such a short amount of time.
I've never been a big fan of the music-video style of editing movies that crept in the last few decades. I like stuff that's able to take its time.
It's been 50 years since I was on the roof of my parents' house shooting Hag in a Black Leather Jacket when I didn't even know there was such a thing as editing. I thought you just shot the film and showed it. That's exactly what I did. I'm not that different 50 years later.
Make sure your message is clear, yet that you are faithful to its complexity.
T. S. Eliot
Some editors are failed writers, but so are most writers.
The border between editing and ghostwriting is, at its extremes, a bit porous. An editor really improves and sometimes restructures a manuscript and suggests changes.
I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.
A book that is made up of only great sentences is not necessarily a great book.
Increasingly, editing means going to lunch. It means editing with a credit card, not with a pencil.
While writing is like a joyful release, editing is a prison where the bars are my former intentions and the abusive warden my own neuroticism.
I try and shoot as often as I can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.
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.
A lot of it is found in the editing room and part of that is due to some of the improvisational tactics we employ on set. Part of it is that the shot goes a little bit long and they end up coming down to fit time.
I'm a big fan of editing and keeping only the interesting bits in.
Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting
Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.
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.
Saint Francis De Sales
There is no artifice as good and desirable as simplicity.
What naturally stops you making the film is there is no more money in the budget. That's really what it is. If you had an unlimited budget, if you were a billionaire and you financed your own movies, then you can either date, because you can sit in an editing room for six years, like Howard Hughes, and never finish anything.
No author dislikes to be edited as much as he dislikes not to be published.
Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing
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.
It's a nightmare of editing. That's what I do all day.
I know when something is done and when it isn't. There's been times working on movies when they [moviemakers] lock in a release date and so you're stuck to that schedule. But sometimes you're still editing and you feel like you're not really done, but they're sort of releasing the movie anyway - that's kind of depressing.
Even a fiction film is hard to end. You can going on shooting and editing a documentary forever.
Could I do with a little life editing? Would that give me a little more freedom? Maybe a little more time?
The simpler you say it, the more eloquent it is.
My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.
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.
To me, editing is not something you can do in a rush because the artists themselves are not always their own best editors. Time is absolutely everything.
There's no point in writing my kind of stuff, when they're printing that kind of stuff. So I gave up and started drinking.
The thing about how that process works is that it's more about the editing and time for judging the ideas. Most pieces I publish each week have been around for months. This is a response to the beginning of the strip, when I was making them so quickly. I would just conceive a piece, finish it, and then the next day see it in the paper. That was when I was doing dailies four days a week.
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.