Best 420 quotes in «editing quotes» category

Do not put statements in the negative form. And don't start sentences with a conjunction. If you reread your work, you will find on rereading that a great deal of repetition can be avoided by rereading and editing. Never use a long word when a diminutive one will do. Unqualified superlatives are the worst of all. De-accession euphemisms. If any word is improper at the end of a sentence, a linking verb is. Avoid trendy locutions that sound flaky. Last, but not least, avoid cliches like the plague.

During the preproduction when I'm shooting and then once we wrap we go away. And then the visual effects guys take over. And then they add all those little bits and pieces. They come up with ideas during the cut in the editing, and they said while would be really cool if we did this thing here where the blade pops out. So then you see the movie and say wow that's a really neat idea. I wish we would have thought of that.

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 and post-production is so important with comedy.

Editing is not merely a method of the junction of separate scenes or pieces, but is a method that controls the 'psychological guidance' of the spectator.

Editing is the most companionable form of education.

Editing is very satisfying process. You spend hours working on something and then you get to watch it. It's immediately satisfying where everything else is just kind of waiting and waiting and waiting.

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 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.

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'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 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.

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

Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing

Editing might be a bloody trade. But knives aren't the exclusive property of butchers. Surgeons use them too.

Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, 'How can I help this writer to say it better in his own style?' and avoid 'How can I show him how I would write it, if it were my piece?'

Editing while you're writing is like strangling the baby in the crib.

Editing can alter the original meaning and context, and computers can alter the image itself. The camera can also be manipulated. At the very least, it must be turned in one direction - only one direction at a time ... Who chooses what direction to point the camera, and why?

Editing feels almost like sculpting or a form of continuing the writing process.

Editing is kind of a solitary job.

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 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.

Everyone needs an editor.

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.

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

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

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.

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

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.

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 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.

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.

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.

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.

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 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 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 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 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 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.