Best 420 quotes in «editing quotes» category

Objectivity can only be the author's and therefore subjective, even if he is editing a newsreel.

Obviously movies like this [Fast and the Furious 7] don't get any love from the Academy. If they do, it may be special effects or sound editing or something like that.

Obviously, where art has it over life is in the matter of editing. Life can be seen to suffer from a drastic lack of editing. It stops too quick, or else it goes on too long. Worse, its pacing is erratic. Some chapters are little more than a few sentences in length, while others stretch into volumes. Life, for all its raw talent, has little sense of structure. It creates amazing textures, but it can't be counted on for snappy beginnings or good endings either. Indeed, in many cases no ending is provided at all.

Of every four words I write, I strike out three.

Often you must turn your stylus to erase, if you hope to write anything worth a second reading.

Once I'm in the editing room, forget about what I intended to shoot. I take a cold, hard look at what I really did shoot, and then I edit that because, if you try to edit what you intended and you missed somewhere, that will show up.

Once you start to realize that a film is the sum of its editing, then editing is the thing you're always looking at.

One gains universal applause who mingles the useful with the agreeable, at once delighting and instructing the reader.

One of the advantages of shooting digitally was that we had a lot of time. When you shoot, even if you do a good performance, it may get lost in the editing room. It's just one more way that a potentially good film might go astray.

People will like to say that 'Eastern Promises' is brutal, but the only reason they say that is because the scenes stick with them. They are realistic. They are in-your-face and you see the consequences. It's not a bunch of quick editing cuts.

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.

Our admiration of fine writing will always be in proportion to its real difficulty and its apparent ease.

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.

Part of the pleasure of editing 'Vogue,' one that lies in a long tradition of this magazine, is being able to feature those who define the culture at any given moment, who stir things up, whose presence in the world shapes the way it looks and influences the way we see it.

People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.

One of my favorite apps is VSCO, which is for editing photos. I think they have great filters. And then I read the New York Times.

Paris is a beautiful city to walk around in. And, you know, all the obvious things: I like the museums, I like the theater, I like the dance. And it's manageable. The food's good. I know a lot of interesting people here. I lived in Boston for 50 years or more. Wherever I am, I'm usually holed up most of the time in the editing room, and so, when I leave the editing room, even if I just take a walk, it's gorgeous. And I walk everywhere. I'm a victim of the seduction of Paris.

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

Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.

Phases of the creative process: Preparation-gathering impressions Incubation-letting go of certainties Immersion/Illumination-creative intervention/risk Revision-conscious structuring and editing of creative material.

Pro Tools is an incredible resource. I think it's enabled me to do things that I wouldn't have been able to do without this kind of computer editing.

Poetry is everywhere; it just needs editing.

Rides in the whirlwind and directs the storm.

Remember the waterfront shack with the sign FRESH FISH SOLD HERE. Of course it's fresh, we're on the ocean. Of course it's for sale, we're not giving it away. Of course it's here, otherwise the sign would be someplace else. The final sign: FISH.

Should novels generally be 600 pages? No, they should not. Half of writing, maybe 3/4 of writing, is editing. This seems to be a thing that has not gotten through to them. It's my impression that you could get rid of half of most of these books. These people are not good enough to be this long, but they're apparently also not good enough to be shorter.

Save the gerund and screw the whale.

Shooting an improv-based film is incredibly liberating, exhilarating, and fun, but editing that kind of movie can be difficult for obvious continuity reasons.

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.

Sentence structure is innate, but whining is acquired.

Some editors are failed writers, but so are most writers.

So if we're going to build new applications that require a large time investment, like say movie editing - today that doesn't matter for the enterprise desktop, but eventually it will when we get closer to consumers - you really need to have a cross-platform story.

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.

Someone said to me that we have to encourage more young women to want top-level editing jobs. I think that will happen naturally as we have more role models, more examples of boss ladies who aren't sad and cruel and overworked and undersexed like in DevilWearsPrada, but who are straight-up owning it and notable not for their gender but for their editorial savvy.

Sometimes when you're heavy into the shooting or editing of a picture, you get to the point where you don't know if you could ever do it again.

So much can be learned by any filmmaker by studying his work, in terms of blocking, staging, editing and sound.

Taste is an evolution and refinement of one’s personal likes and dislikes. This evolution takes place with a constant curiosity and interest in everything. The editing consequently refines the choices and defines taste.

Songwriting is like editing. You write down all this stuff - all this bad, stupid stuff - and then you have to get rid of everything except the very best.

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.

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.

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.

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

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

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 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 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 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 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.