Editing Quotes
Most Famous Editing Quotes of All Time!
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I put myself in the place of the listener when editing my writing. The last thing that I want to do is be preached at and told who to be or what to think when listening to an artist. However, I do want to be inspired. There's a fine line.
One of the biggest differences between you and a traditionally published author is that a self-pubbed author is responsible for everything. Not just writing the book - but cover design, editing, producing, distribution, and publicity as well.
I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command.
With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.
What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.
Everything I do with my day is related to Superwoman. I'm either doing conference calls or writing a script or reading a script, editing a video, shooting a video.
Bling is passe, and I like my style to reflect just that. Ruthless editing defines true style perfectly.
I grew up loving watching movies, and at a certain point, I started to become fascinated with making movies. Then I went to film school, and I got to dabble with different aspects of moviemaking, and I ended up settling heavily into editing - editing was what I was really adept at, had a passion for.
I had worked for a lot of directors whose work I didn't respect, and as I was editing material, I was thinking about how I would have shot the scenes and what I would have done to make the scenes better. After several years of that, I got to the point that I was pretty confident I could sit in the director's chair.
I just ended up focusing on film editing as I was getting my career started. I'm very passionate about editing and will continue to edit for the rest of my career, but it's not like that was all I did and then somehow I grew into directing a movie.
I don't know - I haven't seen any of my movies after I finish them. I leave the editing room; I don't go back.
I don't do a lot of editing post-shoot, but I use Lightroom to play with contrast and texture and to remove dust.
I never edit the songs that come out. And they tend to come out as a whole. The closest thing I have ever done to editing them is just cutting out a verse, but never rewriting lyrics.
The friends I knew who tutored were well paid for work that seemed far less grueling than waitressing or late-night newspaper copy editing or all the other side gigs I attempted in my early twenties.
One of the first things I said to my kids and we all agreed upon when we first started shooting the show was if we're going to do this, we're all in. We're not going to worry about editing ourselves. So that's what you see. It's raw, and it's real, and it's footage that hopefully people learn from some of our experiences.
If I walk into the editing room, it's six hours lost. I'm massaging frames. I'm, like, 'Oh, take six frames off that shot. Hit the music cue right there.' I will drive everybody crazy if left to my own devices in that room. So I try to do everything I can by staying out of the way.
Veteran' is an exercise in editing because there is a lot of moments I took out and some that almost didn't make it.
From 2005 to 2010, I was exclusively shooting 'The Act of Killing' and then editing it.
When you're editing, you want to be the perfect appreciator, not another writer.
When you're making the film, you don't really think the audience; it's only when you start editing that you really start to became aware of your audience because you're thinking of how you communicate these ideas, and how lucid can you be, and yet stay within the language you've established.
The excitement of wading into 'reality' and just finding out what happens - and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging - is a great, great thrill.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called 'Film Culture.'
Before I hit any country I always do my research. I look at what's on the chart there, what's worked in the last few years. As a deejay, as a producer, that's when I get editing. I bring my own edits of tracks that are really cool and happening out there.
I stayed at 'Cosmo' well beyond my internship, moving up the ranks over some 15 years to become books editor, then brand director, then editor-at-large - editing everything from an excerpt of Gore Vidal's memoir to writing some of those juicy cover lines myself.
How do you deal with giving yourself the options in the editing room for dealing with problems that come up from a shifting tone? It's trying to convince your actors to give you the genes and several versions to have more options in the editing room.
When you are writing and directing and producing, there is a lot of stuff to do. I like to finish one; then while I am editing, I will think of the next one.
Certainly it's very difficult to keep momentum going through a film which has as many characters as this does, and the piece took on a life of its own to try and shape it. That took all the time we had in editing.
You know, post-production is a bit of a grind to me. If I'm producing a film, I really... I mean I like editing, but all the other crap, the color mixing and... it's all a grind. And so as a result I cut back producing the number of films I was producing.
When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing; you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.
Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.
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.
Understanding how Cas9 is able to locate specific 20-base-pair target sequences within genomes that are millions to billions of base pairs long may enable improvements to gene targeting and genome editing efforts in bacteria and other types of cells.
I like files. I like editing a CSS file without necessarily having to edit an HTML file. I like fixing a problem by replacing a corrupted file with a clean one. Maybe I'm set in my ways, but I don't consider it a hardship to open a folder or replace a file.
I used to work for a succession of software editing companies that would have contracts with state and federal agencies. And I would be the documenter of meetings, sometimes doing limited business analysis. I began to become quite cynical about how the world works. It works on ineptitude and inefficiency and a kind of passiveness.
Filmmaking is a very complex form - ya know, acting, lighting, screenwriting, storytelling, music, editing - all these things have to come together.
I have used the name Jambulingam while editing films such as 'Super Troopers' and 'Puddle Cruiser.' I like the look and sound of it.
I spend time editing and massaging each note. Then I start layering with different instruments, adding harmonies, counterpoint, and whatever the song calls for. Then I arrange it into a whole piece, and decide where I need to add live musicians. It takes a lot of time, but it is very satisfying once it is complete.
You know 'Ninotchka?' I recommend it. It's kind of a mess, too. It was before, you know, we got slick editing tools, so it kind of chops along.
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
It was only after the Grimms published two editions primarily for adults that they changed their attitude and decided to produce a shorter edition for middle-class families. This led to Wilhelm's editing and censoring many of the tales.
I wrote 'All is Lost' while editing 'Margin Call'. I did that long before I knew if I was ever going to get to make another movie.
I can hire out for editing, proofreading, formatting, and cover design, and those are fixed, sunk costs. Once those are paid, I can earn 70% on a self-pubbed ebook.
My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.
I'm sitting there for hours editing the vids myself. But I have a PR company and a management company. I use some editors for some of the cooking videos because they can be so long.
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.
When I make films, I don't think of any other directors or their work in terms of the rhythm of the editing or the tenor of the performances.
With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'
The greatest thing that prepared me for editing 'Vanity Fair' was having four kids because you just learn to subjugate your ego with the greater interest in mind.
I don't do any research. It's all about gut. Editing - it's always about gut.
I was editing Canadian Literature. I didn't want to let Canadian Literature go, so they reached a nice compromise by which I received half a professor's salary.
Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing.
When I first started editing a 'Year's Best' volume in the '70s, the job was pretty straightforward - there were three or four monthly magazines to read and a few original anthologies from trade publishers every year.
You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.
I don't know why my lines that were cut from the film didn't make it onto the DVD. I have offered to go into the editing room with Christopher and work shoulder to shoulder with him to fit all my lines in. I think he thinks I'm kidding. I'm only trying to help.
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
Formulating the proposal is about 80% of the actual time of the process. In the end, the time spent filming, editing and postproduction is a very small proportion of the total time you spend in the production of the film.
My undergrad degree was in graphic design, and I don't work in that anymore, but I obviously do a lot of design and editing and Photoshopping, and the Adobe Creative Cloud is essential!
I got started on YouTube when I was a freshman in college. I was a broadcast journalism major, and I already had a lot of experience with video editing and photography.
My dad grew up as a computer programmer, so he always had random computer software, and I started opening up editing software at age 12 and figuring out how to build websites.
I'm deleting all my editing apps I used to slim myself down and airbrush pics.
Amanda Hocking and Hugh Howey have been successful in their self-publishing ventures. But notice that Hocking would prefer to write and hand over the editing, promotion, and selling to a traditional publisher.
The film's dramatic requirements should always take precedence over the mere aesthetics of editing.
One of the things I learned in editing 'The Reagan Diaries' is to never say what Reagan would do, because he surprised people.
I prefer a change of surroundings anyway, and I like to be around some energy and white noise, so I usually go to a Barnes & Noble cafe or to the library on 5th and 42nd. In the afternoons, I do research, reading, editing, and play with the kids.
To me I don't deal with stress well at all, and it is stressful enough for me to deal with my own one character. So if I had to deal with all the characters and the special effects, and the editing and make the writing tweaks and do everything the director does, that would drive me to an early grave, and I just can't do it.
I made shorts films, learning the dos and don'ts. Most importantly, I've been editing all these short films. Nothing can teach you filmmaking like editing can.
The records I make, I'm there from the writing of the first note through the click tracks to the miking of the drums to the editing of everything to the production to the vocals to the artwork.
I think 'GoodFellas' is just a perfect film. From an efficiency of storytelling standpoint, from an entertainment standpoint, from a performance standpoint, from a use of music standpoint, from a cinematography and editing standpoint - to me, it's just a perfect movie.
I feel like the job in editing is to let the movie tell you what it is. So again, it's like sculpture. You just start taking away, you add a nose here, you cut off, like, the side of the cheek over here in the crease, and you have a face. But it really reveals to you what it means to be over time, and if you have enough time.
You can't act for the editing. You just go in and do the scene the way you think is right.
I had seen 'Lock, Stock and Two Smoking Barrels' and I thought that was a different kind of film than I'd seen before, with that kind of editing and slick camera movements.
You can't act for the editing. You have to leave that to him. So you just go in and do the scene the way you think is right or whatever you're directed to do, and leave the rest of that technical stuff up to the director.
My parents were in the book business, my brothers still run the Dutton bookstores in Los Angeles, and I've been interested in editing books and journals all of my life.
In late 1999, I was walking down Ventura Boulevard in Sherman Oaks with my late producing partner Sharyn Lane after a day of editing 'Sordid Lives.' We passed the Psychic Book Store and decided to go in and get a reading. We weren't believers, but what the hell? We needed a sign.
If you're writing a screenplay for a feature, you don't have any involvement with the casting process, the editing process, the set design, the costume design, or any of that stuff.
There are editing procedures for talks just as there are editing procedures in jazz improvisation.
When you're editing, you're putting it together in a way that makes sense metaphysically. You're not inventing it, but you're finding the story that's there. You're making a play that's eventually going to go on stage and present itself to an audience. You want to show what happened, not exactly what you have evidence of happening.
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.
If you're working on a computer and you're editing bass, it looks like a warm curvy, sort of feminine object.
When I say 'publishing is the new literacy,' I don't mean there's no role for curation, for improving material, for editing material, for fact-checking material. I mean literally, the act of putting something out in public used to be reserved in the same way.
Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.
Everything else - music, cinematography, costumes, design, acting - can be judged at face value. But when you're looking at editing, you don't know what the totality of the material was, and you don't know the working dynamic between a director and an editor - whether the editor was micromanaged or given free rein. It's very difficult.
I'm the third generation of my family in the film business, and I grew up with a deep passion for movies. I made my own Super 8 films when I was a kid and always loved the editing process.
When I left high school, my dad was directing a film, and I went to work for him as a P.A. There were two wonderful editors, Bud Isaacs and Bernie Balmuth, working on the project, and every chance I had, I would go to the editing room to watch and learn from them.
I've written under the radar for quite some time, and I always looked at editing as writing.
When you're directing, you see your ideas. You see them created right in front of you on the monitor and the sound stage. You get that experience all over again when you get into the editing room and you start playing with it.
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.
The process of editing is what I enjoy most - putting the pieces together and making sense out of them.
'Close To The Edge,' we actually had played it from beginning to end before we recorded it in the studio. So we knew how long it was, and we knew it would fit on the album fine, so we didn't do any editing.
There are plenty of paths to becoming a writer, but I think the most reliable ones involve total commitment: writing for magazines and newspapers, teaching writing, editing books, representing authors.
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