Best 420 quotes in «editing quotes» category

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.

[Women's magazines]ignore older women or pretend that they don’t exist; magazines try to avoid photographs of older women, and when they feature celebrities who are over sixty, ‘retouching artists’ conspire to ‘help’ beautiful women look more beautiful, ie less than their age...By now readers have no idea what a real woman’s 60 year old face looks like in print because it’s made to look 45. Worse, 60 year old readers look in the mirror and think they are too old, because they’re comparing themselves to some retouched face smiling back at them from a magazine.

Writers come in two principal categories -- those who are overtly insecure and those who are covertly insecure.

Writing well is more than mechanics, but it is not less.

Writing is a bitch. It's an itch that I love to scratch.

Writing is like riding a bike. Once you gain momentum, the hills are easier. Editing, however, requires a motor and some horsepower.

Writing is like shadow boxing. Editing is when the shadows fight back.

Write when drunk. Edit when sober. Market it with the persistence of a drug peddler.

Writing without revising is the literary equivalent of waltzing gaily out of the house in your underwear.

Your first draft is a petulant teenager, sure it knows best, adamant that its Mother is wrong. Your third draft has emerged from puberty, realising that its Mother was right about everything.

You are an author! You will be a published author. Take pride in that, and present only your best work. Then, continue to improve, so your best gets even better.

A good deal of editing a manuscript looks like mechanical work, as if anyone with time on their hands and a magnifying glass could do it. But at a certain point, you need a strong interpretive conviction and, as you say, an "intangible" relationship to what you are doing.

After university, I got a job sub-editing and for years I was a literary editor.

A 3K word story might well be done in some caffeine-and-nicotine-fuelled 36 hour session, and at the end of it, there'll be a few passes of editing required, but I basically have a polished draft.

Alfred Hitchcock talked about planning out his movies so meticulously that when he was actually shooting and editing, it was the most boring thing in the world. But drawing comics isn't like shooting a movie. You can shoot a movie in a few days and be done with it, but drawing a comic takes years and years... That's the biggest part of doing comics: You have to create stuff that makes you want to get out of bed every morning and get to work.

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.

All you're trying to do in an improvisation is get as much material as possible for the editing room.

A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.

A lot of people, myself included, are excited about blogging and stuff like that, citizen journalism, but I do remind people that no matter how excited we are, there's no substitute for professional writing, no substitute for professional editing, and no substitute for professional fact-checking.

And I watch all the dailies and I grade the jokes or the moments, you know, on a scale from... so I know exactly what we have. And so I can then go into the editing room and be like "I want you to do this moment, this moment, this joke, that joke. I'd like to see 3 versions.

A lot of the music editing job is communication and working out what a director really wants the music to be.

A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.

A movie is a creative process from its conception, through its writing, to its execution, to the editing. I think with the best films there is some kind of contribution from one person all the way through that. The best films are made by people who write, direct, and edit, so there's continuity.

A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.

And then to see the whole movie, you're pretty much waiting until the end of production. And the major lifting in terms of editing and all that stuff is done before you shoot the movie. That's an unusual way to work.

An editor should tell the author his writing is better than it is. Not a lot better, a little better.

A perfect movie is a different thing, but a funny movie is easy. I was really happy that I got everyone that I got. Everybody got to play to their strengths and was paired up in the right scenarios. It was very fortunate. It was exciting, the whole process. It makes more difficulty in editing 'cause there's more footage, but the guy I had handle it was a documentarian editor for a long time, so it was very useful.

Anyone who can not write should.

Angelo Corrao was our editor [in Dream of Life], and he was just so diligent and so old-school in the way he looked at editing. He would take my far-out ideas and tame them and make sense of them.

As for my style, for my vision of the cinema, editing is not simply one aspect; it's the aspect.

Artistry is important. Skill, hard work, rewriting, editing, and careful, careful craft: All of these are necessary. These are what separate the beginners from experienced artists.

Art, it seems to me, should simplify finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole - so that all that one has suppressed and cut away is there to the reader's consciousness as much as if it were in type on the page.

As a loyal believer in the Auteur Theory I first felt editing was but the logical consequence of the way in which one shoots. But, what I learned is that it is actually another writing.

As a young filmmaker, I shot a lot of stuff because I wanted to make sure that I got everything, but now I've gotten much more precise with my shooting. Editing is a whole other layer because then, sometimes you realize characters don't even need to say this or that. It becomes an issue of exposition, and over-explaining something. In the script, I'd reinforce certain things about what I wanted people to know two or three times, but in the editing room, I'd be like, "I only need to say this once, maybe twice.

A writer without a sense of justice or injustice would be better off editing the yearbook for a school for exceptional children.

As the actor, you can't be worried about the scene that you're going to playing two days from now. You think about what's going on, right now and in the moment. That's what you worry about. Everything is right then and there. In the end, all of the pieces come together, thanks to the editing and James Gunn.

A writer is unfair to himself when he is unable to be hard on himself.

A writer should be of as great probity and honesty as a priest of God. He is either honest or not, as a woman is either chaste or not, and after one piece of dishonest writing he is never the same again.

Basically, I composed the musical structure in one pass. The rest was editing and small adjustments. And when the play was read by actors with the music, the sequence timed-out perfectly.

Believe it or not, I don't collaborate with women, though my agent and editor are both females. For the most part, they do little editing on my characters.

Be direct, simple, brief, vigorous, and lucid.

Because the Pang brothers are twins, they would rotate days on set. One of them would be editing, and one of them would be shooting.

Creatively, editing was the most painful part of the process for me.

Could I do with a little life editing? Would that give me a little more freedom? Maybe a little more time?

Editing is a very tough period. You're confronted with yourself. It's a deep, dark, truthful mirror.

Editing and selectivity are processes that provide the first steps in determining and conveying content.

Editing is not a part of the filmmaking process I've ever been privy to as an actress.

Editing was hard for me. It was hard to be in a room by yourself and not have that collaborative spirit. Comedies are really tight and timing is everything.

Editing yourself is like an irksome coin toss. You've got to strip yourself of super ego and operate from the id. Maybe I've got my Freud mixed up. It's just hard to trade a beauty shot for the performance with truth and a brightly lit zit.

Editing is just ongoing. I don't count drafts, or know what would fully constitute a draft. But I try to fix as I go. And there's always more to fix.