Editing Quotes
Most Famous Editing Quotes of All Time!
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I'm so independent in writing stuff and controlling what I do. Sometimes I get calls from people asking to be in their movie, but I'm always writing or editing, and I can never get around to doing it. I'm so much more interested in my own stuff. I think I drive my agent crazy.
Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.
I was freelance proof-reading, freelance editing, creating illustrated slides for doctors' presentations - just so I'd have enough money to take the time to write. That's how I got by.
I used to be an editor and I was editing young adult series. I didn't really like the books that I was reading, so I decided that I would write a book about something I'd want to read if I was 16. It turned into a Cinderella story... I developed a proposal and the characters of 'Gossip Girl' for my job.
I moved to New York City when I was 20 years old, started making movies non-stop. I didn't have any friends, so I would just sit at home all night editing on my iMac.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
I visited England immediately after I finished writing 'The Marrying Season,' before any editing or revisions.
My dad bought me a camera, and I started taking it everywhere with me. I realised how much I was enjoying the whole process - from taking the images to editing them and developing them - and it soon became a complete passion.
Editing is now the easiest thing on earth to do, and all the things that evolved out of word processing - 'Oh, let's put that sentence there, let's get rid of this' - have become commonplace in films and music too.
As children, we have vivid imaginations. We stay up late waiting for Santa Claus, dream of becoming president, and have ideas that defy physics. Then something happens. As we grow older, we start editing our imagination.
Think of the imagination as a giant stone from which we carve out new ideas. As we chip away, our new ideas become more polished and refined. But if you start by editing your imagination, you start with a tiny stone.
My office-hour reading is fairly ad hoc: I generally read whatever seems relevant to what I'm editing, writing, or thinking about writing.
In terms of my career, it began in earnest when I was living in Boston. I started doing my own films, working initially as an editor and editing assistant - briefly - at WGBH, as an editor on other people's movies, trying to get some experience under my belt, but eventually just doing my own short films, doing them my way.
David and I got cut out the editing process on that. We were able to affect it more than not. We sent in our notes, we were able to see cuts. We weren't allowed to see dailies and we weren't allowed to sit in the editing room and just work.
Well, the 'Giuliana & Bill' show is a little bit different because Giuliana and I are the executive producers of the show, so certainly we have a lot of control and we have total, I guess if we wanted to, editing power, but I will say, in the seven seasons we've done the show, we've never used our executive producer powers to cut something out.
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.
A harsh reality of newspaper editing is that the deadlines don't allow for the polish that you expect in books or even magazines.
I started as a child, in this PBS series 'Voyage of the Mimi,' which led to driving down to New York for 'Afterschool Special' auditions, which led to moving to Los Angeles. I wanted to be an actor. But in L.A., I got into film technology, and I was building cheap editing systems and would edit my friend's acting reels.
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 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.
Everything's always got to be character-based. We know we can't, if we're sitting in the editing room, watch the sequence for more than 20 seconds without a character having a point of view or moving the action forward; my brain just shuts down, or I start thinking about my laundry.
Editing is such a voyeuristic treat for me. I land on a theme and ask authors to pen works that fit the topic.
I'm very interested in the editing process - in all aspects of film-making, really.
'The New Yorker' was really my first experience with serious editing. Previously, I'd more or less just had copyediting with a few suggestions - not much.
I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.
I'm attracted to directors in general because I appreciate the work and the job they have to do. I watched the post-production, I watched the pre-production... post-production is something that I'm very interested in and I did spend a lot of time in editing rooms when I was young pretending to be sick.
I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.
I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
'The Newsroom' is phenomenally bad good TV. Sam Waterston and Jeff Daniels and Emily Mortimer are all terrific! So is the production, and the direction, and even the editing!
The best songwriting comes from being as creative as you can and editing it down to the good bits, essentially.
Once you sign on as an actor, you know, you don't go to the editing room, you don't see how they cut, you don't see how they score, you don't see how they cast the rest of the movie.
A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.
I'm a student. I want to do better, and I want directors who can find the actress in me and be my teachers. I'm interested in the whole process of editing, post-production and direction.
I was not raised with films. And when Alain Resnais did the editing on my first film, he said, 'You should go to the Cinematheque.' I didn't even know we had one in Paris.
I've been writing for years and developing my own films and editing with a friend of mine in Australia.
That's the thing about making a movie: You never finish editing. They just take it away from you.
You never really know as an actor; it's completely out of your control, in terms of editing, and music, and film stock, shot selection, and what takes they use.
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