Best 420 quotes in «editing quotes» category

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.

Even after forty years of directing, shooting and editing films, when I collaborate with a male partner, people still perceive the man as the primary filmmaker.

Even a fiction film is hard to end. You can going on shooting and editing a documentary forever.

Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.

Even if I'd stayed [in the US to finish 'The Magnificent Ambersons'] I would've had to make compromises on the editing, but these would've been mine and not the fruit of confused and often semi-hysterical committees. If I had been there myself I would have found my own solutions and saved the pictures in a form which would have carried the stamp of my own effort.

Even if it's a "talking head documentary" about a social movement or something along those lines, I've always thought of editing the timing and the sense of the piece for the theatrical experience.

Even Jack Kerouac, who famously said, "First thought, best thought," benefited from editing. His earliest works are the most edited, and they're the best of his writing.

Everyone needs an editor.

Every time I'm in editing, there's always a moment where you think, "Maybe this should be six or seven minutes shorter, but I'm losing character and story that I think is important." When I like things, I'm not in a rush for them to end.

Every syllable that can be struck out is pure profit, and every page that can be economised is a five-per-cent dividend. Nature rebels against this rule; the flesh is weak, and shrinks from the scissors; I groan in retrospect over the weak.

Every time I take a photo, it goes into SnapSeed. Even if it's just a price tag on something, it still goes into SnapSeed, and I start editing it. I'm not a photographer, so I need all the help I can get when it comes to make a picture look cool.

Everything in comedy's got to be exactly right, which is why making a comedic film is kind of a difficult process, because, for most of the two years of shooting it and editing it and reshooting and all of that, it's not quite right. And it's only when you just at the end, you put the final polish on it, it becomes really funny again.

Fate often allows a future to take shape with no regard for our expectation, plan, or readiness. Fate's skillful editing of our life choices is like the careful grooming of lads on their first day of school: combed, polished, scrubbed, newly dressed, and glowing too. This is how we become ready for our life lessons.

For an actor working in television or film, I think it's important to understand how the medium works - how the camera and lenses work and how the sound and the editing works.

Fiction happens in the womb. It doesn't get processed in the mind until you do the editing.

Film gives me live actors, editing, music, sound, a huge and powerful toolbox to play with. If there is a problem for me, it is that film gives me too much. There is less room for the audience to add their side of the conversation.

Forcing modern speakers of English to not - whoops, not to split an infinitive because it isn't done in Latin makes about as much sense as forcing modern residents of England to wear laurels and togas.

For better or worse, editing is what editors are for; and editing is selection and choice of material. That editors newspaper or broadcast can and do abuse this power is beyond doubt, but that is no reason to deny the discretion Congress provided.

George Lazenby is no one's favorite James Bond, but for me the anonymity at the center of this lavish production only serves to reveal the Bond machine firing on all cylinders: superb editing and photography, incredible score, great setpieces. The most romantic in the series, and it actually has, of all things, a tragic ending.

For some reason at Sundance, more than other festivals that I'm aware of, you find filmmakers rushing to screen works that sometimes aren't completed. In my seven years of programming at Toronto, I'm not aware of any documentaries that went back for serious editing after their premiere - other than those presented as works-in-progress. But at Sundance every year there seems to be a few films that push the deadline so hard that they get taken back to the edit room afterwards.

For me, shooting, editing, and scoring rely on rhythm.

I always try and bring screenplay, shooting and editing into a sort of symbiotic - as close into alignment as you possibly can get them, consistent, obviously, with the resources that you've got and the time you've got available.

Having gone through editing process, I can see that in actor's faces there's point where they're not managing their performance and that's, I think, the best place to be. You've done the homework, you've learned the lines, at that point you just sort of let it out.

Grammar is the logic of speech, even as logic is the grammar of reason.

I always feel like the editing room is like coming into the kitchen. What kind of a meal do you make from there? It can be anything.

I am not altogether confident of my ability to put my thoughts into words: My texts are usually better after an editor has hacked away at them, and I am used to both editing and being edited. Which is to say that I am not oversensitive in such matters.

I am a part of the old school where I feel that purity of the language should be retained. But English is a constantly evolving language where new words are being added to the dictionary, so I don't see any harm in experimenting with the language. Only poor editing standards need to be improved.

I am somebody who usually writes out the rough draft in longhand. Then I type it into the computer, and that is where I do my editing. I find that if I write it on the computer, I go too quick. So I like getting that first draft out and then typing it in; you are less self-conscious about it.

I became really aware that when you're making a movie, you're making it three times. You're making it when you're writing it. You're making it when you're shooting it. And then you're remaking it again when you're editing it.

I believe more in the scissors than I do in the pencil.

I confess that Roy [Stryker] was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.

I came to a dead stop and began major revisions. Sometimes these entailed the shredding of all existing manuscript for a fresh start - an inefficient way to write a book, though I found it exciting.

I chose to go to Arizona, because it was an opportunity to make something that I've never done. To work with different people and to have a good time when you're recording and to not have the whole thing be some sort of editing process in front of a computer, but to actually try and capture some sort of spirit.

I can't drag myself away from 'Final Cut Pro.' It is a digital video editing system. I am obsessed with it, but I am always away from home, and I can't use it.

I did a film that I shot in 24 hours that was self-financed for $5,000. It was a feature called Looking For Jimmy that I shot with a bunch of friends. I spent eight months editing because we had 24 hours of footage that made no sense and I learned a lot about directing while editing that film.

I directed a movie and now, I'm going to do the editing.

I did a run of a play over the summer in a really tiny theater in New York and that was rejuvenating for me. I directed a short series for Hulu called Paloma and being in an editing room, I learned a lot about acting.

I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.

I don't listen to music when I'm writing, but I often do when I'm reworking, editing or when I need to relax.

I don't come from a film background. I haven't learned anything about films or film-making. But I have a thirst to know everything about my profession. I want to learn about cinematography, about editing, about music recordings, about post-production. So when people in the know talk, I willingly listen.

I don't know. I don't go around looking at my pictures. I sometimes think I'm a mechanic. I just take pictures. When the time comes, for whatever reason, I get involved in editing and getting some prints made and stuff. There are things that interest me. But I don't really mull over them a lot.

I don't like a kind of workshop that is about editing--I don't want to sit there and be an editor. I don't want to tell someone how to "fix" a poem.

I don't do any research. It's all about gut. Editing - it's always about gut.

I find that the majority of the year, I don't spend acting. I spend it either writing or editing or producing, or putting things together. So it's as shocking as it is tragic. I really enjoy it. It's a valuable skill set. I certainly feel like more of a grownup.

If a word in the dictionary were misspelled, how would we know?

I feel there's so much still to learn about acting. But there is some magic in the capturing of performance and in the process of editing a performance. The psychology of human beings and what's coming through the face... that fascinates me.

I enjoy twitter accounts that are meticulously edited just as much as I enjoy twitter accounts that aren't edited at all, but it can feel kind of disappointing to me when I see that someone is editing their tweets out of self-consciousness.

If any sort of error is inexcusable, it's an incorrect phone number. One of the cardinal rules of copy editing is that every phone number published must be checked.

If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.

If you are a professional writer - i.e., if someone else is getting paid to worry about how your words are formatted and printed - Emacs outshines all other editing software in approximately the same way that the noonday sun does the stars. It is not just bigger and brighter; it simply makes everything else vanish.