Best 420 quotes in «editing quotes» category

I spent a fair amount of time editing the lyrics and allowing the song to kind of evolve. ... anytime there's anything worthwhile, it certainly 'feels' like it happened on the spur of the moment, but it's a composite of lots of spurs of the moment, hopefully. And over time, you catch up with those, and then you have a full set of lyrics you've thought of and you feel comfortable singing.

I think Gram did his best work in co-writes. Sometimes when you're working with one other person, it's such a magical thing. You're editing each other and you're trying to create that one spark.

I take editing seriously. It's a joy to edit. I always hand a manuscript to several editors and can't wait to get back their notes and see what they've said. I don't criticize myself for making blunders here and there, because it's just natural. You write in chunks, and you may not remember that that sentence you wrote yesterday had the same word repeated three times. I do enjoy that. I love the feeling of repairing. Repairing is really nice.

I think that anybody that wants to direct, particularly writers, should spend some time in an editing room, whether it's a film of theirs or someone else's, or shoot their own picture on video and cut it.

I think what holds people up in creative processes is the expectation of what it is they're doing. It's also the sense of judgement, you know, people editing themselves.

I think you either have chemistry or you don't. If you could create chemistry in the editing room then there would be no films without chemistry, obviously, because there are a lot of good editors out there who'd be able to take care of that then if that's how it really worked.

I think I have an obligation, to the people who have consented to be in the film, to make a film that is fair to their experience. The editing of my films is a long and selective process. I do feel that when I cut a sequence, I have an obligation to the people who are in it, to cut it so that it fairly represents what I felt was going on at the time, in the original event. I don't try and cut it to meet the standards of a producer or a network or a television show.

It is amazing how little effort most people make to improve control of their attention. If reading a book seems too difficult, instead of sharpening concentration we tend to set it aside and instead turn on the television, which not only requires minimal attention, but in fact tends to diffuse what little it commands with choppy editing, commercial interruptions, and generally inane content.

I try and shoot as often as I can, I cross shoot. I have at least two cameras rolling at the same time. So I'll have two actors or two sets of actors at a time so everybody's basically on camera. So when they improvise we have everybody's coverage. And you can then go in the editing room and find the energy still stays there.

I try to just save a fresh, clear head for whoever I'm working with, so hopefully it's helpful that there's someone who doesn't have to sit in the editing room for 12 hours a day, and who's blinded by the massive footage and options that they have.

It's a nightmare of editing. That's what I do all day.

It's an ongoing process, in the script, on the set and in the editing room, to make sure you are being true to the emotion of the film without turning it into a melodrama, and making sure you're getting all the laughs you can without it turning into just some stupid comedy.

It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.

It should be obvious that this pattern of systematic holes and gaps in Iraq's declaration is not the result of accidents, editing oversights or technical mistakes. These are material omissions that - in our view - constitute another material breach. It is up to Iraq to prove that there is some other explanation besides the obvious one, that this declaration is just one more act of deception in a history of lies from a defiant dictator.

I think the hardest thing to teach a student is that what he or she puts down on paper is changeable. It's not the final thing, it's the first thing, which may just be the suggestive, vague identification of something that you have to come back to and rewrite.

It's been 50 years since I was on the roof of my parents' house shooting Hag in a Black Leather Jacket when I didn't even know there was such a thing as editing. I thought you just shot the film and showed it. That's exactly what I did. I'm not that different 50 years later.

It's good to get away from the editing suite. It's very unhealthy to be sitting in front of the screen for too long.

It was really interesting to be editing the film [Trust] in New York and directing the play in Chicago, and one definitely informed the other. The play probably benefitted more because I realized what scenes could be cut, and I cut those scenes from the play.

I used to get so worried that if a scene didn't go a certain way, then it was horrible. But then I realized that it was better to give the director options in the editing room than just being locked into how it's supposed to be.

I've always been a relaxed person on set, but I think the main thing is I think about it from an editing point of view way more than I did before.

It's interesting, editing can be so immersive for me that I've noticed that the authors I edit have a pretty profound effect on how I hear language for a while.

I've always equated the writing process with editing, sort of like when I get through editing the movie, that's like my last draft of the screenplay.

I've never been a big fan of the music-video style of editing movies that crept in the last few decades. I like stuff that's able to take its time.

I was always creatively stubborn, adverse to editing by others, and wanted to use the kind of Ukrainian we spoke among ourselves rather than the more artificial prescribed literary Ukrainian. The problem was the greatest in prose, where editors would change my language because "it sounded better this way." My poetry they left alone probably out of deference to that hallowed genre.

I was fascinated by the effects that could be achieved by editing. The cutting room became a magic workshop for me.

I was the Playmate editor for Playboy for two years. I produced two years' worth of centerfolds. I did everything on that, from picking the girls to designing the sets to picking the wardrobe, coming up with themes, assigning the photographer, down to editing the photos and approving the retouching.

It's like you might have some great scene that you love but for some reason - and you can't necessarily put your finger on it - the movie's not working or it seems slow or ponderous in some way, and even though it has your favorite scene in there, actually the favorite scene is the culprit. That's the painful thing about editing, is trying to locate those things that are holding the movie back and then having the guts to cut them. And it is painful to do it.

I watched a lot of movies from all over the world. The Russians were very good at editing. They were specialists in editing. The Man with a Camera, if you know that movie, is incredible. I still don't understand how it works. It's a movie with no script, no actors and still it works. It's really good. It's really about editing.

I work eight hours a day, but I'm not writing all that time. I'm thinking, editing, looking something up. Thinking is what I do a lot of.

I write quickly with a sense of urgency. I don't edit myself out of existence, meaning I'll try to write 50 or 60 pages before I start rereading, revising and editing. That just helps with my confidence.

I wish I could play music. I think I get as closeas possible with the editing of the films. Over the years musichas been an even more important influence than-or as important as-film.There's no doubt about it. Painting, movement, dance, sculpture-it'sall in cinema.

Looking at a first assembly is kind of like looking at an overgrown garden. You can't just wade in with a weed whacker; you don't yet know where the stems of the flowers are.

I've lived through the shooting of movie, the editing and every other process along the way, so it's not for me to really judge it. I'll probably look at it again five years from now to get a fresh feel for it.

Make sure your message is clear, yet that you are faithful to its complexity.

LICKSPITTLE, n. A useful functionary, not infrequently found editing a newspaper . . . the lickspittle is only the blackmailer under another aspect, although the latter is frequently found as an independent species.

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

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.

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

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.

I write very raw, ugly, illiterate first drafts very quickly (novels are always in first draft in under a year) and then I spend years and years fine-tuning, revising, editing, etc. What inspires me? Who knows. I am not inspired that much. That’s why I write long form fiction - I am not much of a short story writer. Ideas come seldom, but when a good one comes, I really stick to it and see it out. I’m a problem-solver - I've never thrown out an entire manuscript; I've always forced myself to repair it until it was a lovable thing again.

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.

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 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.

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 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.

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.