Best 420 quotes in «editing quotes» category

That was an amazing experience [making Dream of Life]. It's hard to imagine that we were editing every day for a year. And it was pretty extraordinary; it also went by super fast. But every day was an experiment.

The best advice on writing was given to me by my first editor, Michael Korda, of Simon and Schuster, while writing my first book. 'Finish your first draft and then we'll talk,' he said. It took me a long time to realize how good the advice was. Even if you write it wrong, write and finish your first draft. Only then, when you have a flawed whole, do you know what you have to fix.

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.

The big issue was cutting. I finally cut as much as I could, about a fourth of the story, and actually liked it.

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.

The computer brings out the uptight perfectionist in us - we start editing ideas before we have them.

The chief virtue that language can have is clarity.

The conscious mind is the editor, and the subconscious mind is the writer. And the joy of writing, when you're writing from your subconscious, is beautiful - it's thrilling. When you're editing, which is your conscious mind, it's like torture.

The Conversation' was the first film I edited on a flatbed machine - a KEM editing machine. I've been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way.

The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.

The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.

The editing process is a necessary evil. I can write until the cows come home but it is all garbage until it gets edited.

The editing of moving pictures is geared toward the single image. You'd have to edit things in new ways.

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.

The dubious privilege of a freelance writer is he’s given the freedom to starve anywhere.

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?

The editing of a song is largely what makes the song for me and I think that actually if I had started going like 'I want you to burn' it would have pinned that song down to a particular thing and made that song a smaller idea than what it is. By leaving that off it's much more open, broader.

The editing process, for me, is both the most fun and the most frustrating. It's the most fun because you get to see it actually piece together. But if one thing is off, it can be frustrating trying to figure out exactly what it is that's bumping you, so you try a hundred different things.

The editing process was a free-for-all, and since I hadn't gone to film [Dream of Life] school or anything like that, I just said, "We'll do this. We'll do that." It was a really great experience that way.

The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.

The essence of cinema is editing.

The funny thing is, when I've gone through the relentless editing process, my editor and I are amazed the Mercy Watson books still make us laugh. The same jokes that made us laugh the first time around still make us laugh in the 16th rendition.

The film [Dream of Life] came together when we started editing; it was organic, it became nonlinear and it was its own animal. And I didn't want to tame it, either. I wanted it to be different. It's not your typical documentary.

The films dramatic requirements should always take precedence over the mere aesthetics of editing.

The film is made in the editing room.

The greatest films ever made in our history were cut on film, and I'm tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.

There are two things wrong with almost all legal writing. One is its style. The other is its content.

The greatest thing that prepared me for editing Vanity Fair was having four kids because you just learn to subjugate your ego with the greater interest in mind.

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.

The momentum of production keeps you from giving up, so it's really the editing and writing phases where things can look bleakest.

The process of editing is what I enjoy most - putting the pieces together and making sense out of them.

There are a lot of layers in the film [Dream of Life]. And during editing we would try to tame all the layers, try to make things a little bit more understood. We would move scenes around. We'd try all these things.

The one place I've seen something really come together is in editing. Sometimes you can save pieces in a way that you're really shocked.

There are editing procedures for talks just as there are editing procedures in jazz improvisation.

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

There is no artifice as good and desirable as simplicity.

There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.

There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. But if you don't have something deliberate made, you're not gonna save it in the editing room.

There is anxiety, but it comes after you've finished filming because it's out of your hands; people are editing it, they're cutting it, marketing it. And it's... part your career sort of rides on that. But when you're actually filming it's a team thing and it really feels good there for me.

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.

The simpler you say it, the more eloquent it is.

The secret to editing your work is simple: you need to become its reader instead of its writer.

The show with Buckley and Vidal was happening live. There was no editing. There was no delay. So they were aghast. How America reacted is sort of the most interesting thing because as these debates progressed, the ratings were going up. So people began to program these sort of point-counterpoint setups, where two people with opposite sides would come on.

The road to hell is paved with leeks and potatoes

The shooting of the movie is the truth part and the editing of the movie is the lying part, the deceit part

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.

The thing for someone just starting off [in writing] is to write. You need to have limber fingers, whether you write with your fingers or you type on your laptop, but you need to have a limber mind and you need to be able to write without judging what you've written, at least right away, and without editing right away.

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.

The way I perform or the setup is always same - just me and a microphone and the text - and they usually have some relation of how physical that stack becomes. When I'm editing it together, the density of the papers is an indicator to be like, "You need to stop.

The structure of a play is always the story of how the birds came home to roost.