Best 420 quotes in «editing quotes» category

Many writers profess great exactness in punctuation who never yet made a point.

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.

Metaphors have a way of holding the most truth in the least space.

Modern biblical scholars have established that the bible is a wiki. It was compiled over half a millennium from writers with different styles, dialects, character names, and conceptions of God and was subjected to haphazard editing that left it with many contradictions, duplications and non-sequiturs.

Movies get found in the editing room. The movie that you make is not always necessarily the movie that comes out of the editing room. The trick is to perfect the movie that you have and make it the best version of what you've shot, regardless of what the intent may have been.

My core competency has really informed my painting. The roots of editing stem from classical paintings - classic painters intended to drive your eye from this conflict to that intrigue, ending with a caprice. That is a montage, that is editing. It became a flipbook in later generations.

[M]y first published book had just appeared in stores. The last year of my life-the year of finishing it, editing it, and seeing it through its various page-proof passes-ranks among the most unnerving of my young life. It has not felt good, or freeing. It has felt nerve-shreddingly disquieting. Publication simply allows one that much more to worry about. This cannot be said to aspiring writers often or sternly enough. Whatever they carry within themselves they believe publication cures will not, I can all but guarantee, be cured. You just wind up with new diseases.

My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.

My goal is to strip things down so that you need just the right amount of words or shape to convey what you need to convey. I like editing. I like it very tight.

My novels tend to take a long time to become exactly what they're going to be. They're fluid messes until I've done a ton of editing and refining and rewriting. When I write novels, I always make related scrapbooks to help me organize and test my intentions.

My whole life is a movie. It's just that there are no dissolves. I have to live every agonizing moment of it. My life needs editing.

No author dislikes to be edited as much as he dislikes not to be published.

Maybe writing can't be taught, but editing can be taught—prayer, fasting and self-mutilation.

My metaphor for acting in movies - not on stage because it's completely different on stage - is to put colors on an easel for the director to paint his own painting with in the editing room, long after I've left. You buy me for red and black, so I better give you really great red and black, but if I can give you purple, pink, green and brown too, I will.

[My mom] is quite the strict editor. I feel like maybe she has more of the old-school editing style, which really works in picture books, because you don't want to articulate anything in words that is already shown through the pictures.

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

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.

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.

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.

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.

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.

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.

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.

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

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

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.

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.

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.

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.

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.

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.

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.

Save the gerund and screw the whale.

Rides in the whirlwind and directs the storm.

Sentence structure is innate, but whining is acquired.

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.

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

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

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.

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

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.

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.

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.