Best 420 quotes in «editing quotes» category

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 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 writing is what gives me the joy, especially editing myself for the page, and getting something ready to show to the editors, and then to have a first draft and get it back and work to fix it, I love reworking, I love editing, love love love revision, revision, revision, revision.

The writing itself is no big deal. The editing, and even more than that, the self-doubt, is excruciatingly impossible.

This notion of changing technology interests me. I work on a computer now, and it's not been easy to adjust. I still prefer to have my hands on film when I'm editing.

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.

To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.

Thomas Jefferson went through the New Testament and removed all the miracles, leaving only the teachings. Take a source, extract what appeals to you, discard the rest. Such an act of editorship is bound to reflect something of the individual doing the editing: a plaster cast of an aesthetic-not the actual thing, but the imprint of it.

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.

To make a movie charming, you have to be playful on all levels and open to ideas, and you have to have an idea for how to do that within the confines of the shooting schedule and editing and all that.

Ultimately your job as an actor is to perform however you're being asked to perform and there's many different procedures as an actor that you're going to run into that you should be prepared for and be ready to go to work and do the best you can and give the director the best thing you can to hopefully give him things on that day that could be shot preserved and out into a canned, then when they go into the editing room that's where a movie's made.

To write three series a year you only need to commit to writing 10 pages per day, or editing 50 pages of text per day. Plus, writing is my job, and I need to write to eat, so I'm highly motivated to get up and get to work!

Very few people make exterior movies anymore. It's always action films driven by action and quick editing.

Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems. It's just too complicated - negatives, tinting, flashing - it's a whole new system that takes a lot of time. Of course, it's not as physical. Even the editing. You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.

Unfortunately, I am very aware of editing and I look at the monitor too much. Sometimes the monitor can become your worst enemy because you can, consciously or unconsciously, start editing yourself.

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.

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.

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.

Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.

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.

When I go into the editing process, I re-look at the original intuitive thoughts and then it becomes the written performance or text work. Because they look quite big there's this assumption that there isn't much editing, but that's a huge part of it.

When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.

When I edit the poems - and I do edit, which some people don't mean when they use the term "stream of consciousness" - I'm usually editing toward greater accuracy, which sometimes means more fragmentation, because that is the way I think.

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 watch the movie, which is I don't know how many times I've done now with editing and everything, I walk out giddy just because I feel like that's the movie that I want to see.

When I use a direct manipulation system whether for text editing, drawing pictures, or creating and playing games I do think of myself not as using a computer but as doing the particular task. The computer is, in effect, invisible. The point cannot be overstressed: make the computer system invisible.

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.

When you are acting in a film, you have no idea what scene the editor is going to choose. For instance, after you have directed, you feel more comfortable delivering a performance. Because you know the real performance is put together in the editing room.

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.

When you catch an adjective, kill it.

When you're in the editing process, you try different things and you get creative ideas.

Whether the flower looks better in the nosegay than in the meadow where it grew and we had to wet our feet to get it! Is the scholastic air any advantage?

When you get back into the editing suite in the cold light of day, the written stuff is better.

When you're done shooting, the movie that you're going to release when you're done shooting is as bad as it will ever be. And then through editing, and finishing the effects and adding music, you get to make the movie better again. So I'm really hard on myself and on the movie.

When you're writing is when the "god should I just drop this" feeling can hit. When you're editing is when the "god this is awful and I've wasted everyone's time and money and will be revealed as a fraud" feeling can hit.

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!

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.

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

Writing is therapeutic. It helps you cope with issues that seem gargantuan at the time. The process of expressing yourself about a problem, editing your thoughts, and writing some more can help you control issues that you face.

You cant act for the editing. You just go in and do the scene the way you think is right.

You become a good writer just as you become a good joiner: by planing down your sentences.

You can really do some clever editing even within the limited two-track format.

Your only guidepost is your own instinct and judicious editing. In my stand-up act I learned that in the first 10 minutes I could say anything and it would get a laugh. Then I'd better deliver. In the movie it's the same thing. You get a lot of laughs when people first sit down and then the story better kick in. Many years in front of an audience, I would hope, give me a sense of what works.

You can't revise a blank page.

You collaborate with actors who are also talented and visionary and come together on a artistic direction within the confines of humanity and realism. The collaboration that you have had with all of these people plays an integral role in its final stage where editing and music are combine to enhance your work. This whole process is very rewarding and I wouldn't trade it for anything.

You generally know when someone asks you to do something- am I more writing, or am I more editing? The editor is the best metaphor for your job.

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.

You never know what you do that could be totally out of left field, which actually might work and give something fresh to the whole scene, to the character, whatever. If you have that with a director who then knows how to shape it, either in the direction, in the moment, or in the editing, then that's good.