Cutting Quotes - Page 197

It's interesting because the way J.J. cuts - we're very close with our editors as well, so it's kind of the first cut and then he went back and started tightening things up, etc, then loosing things when it was too tight. Then you start watching it and you start figuring out performance - not performance, character-wise I should say, who you're really able to follow, whose journey is harder to follow, and you make all that work.

So it's an interesting process just going through and seeing what works and what doesn't work, and what's the best version of it. It was a good process because I think we all collectively, when everyone would run into issues in the cut or know that things weren't working, they kind of glaringly stuck out so we could focus on fixing those things and it wasn't a situation where you would show it to ten people and you would have ten problems.

You don't get to cut that chain of evidence and start over. You're always going to be pursued by your data shadow, which is forming from thousands and thousands of little leaks and tributaries of information.

I cut my bow from the wood of this tree of evil. Of this tree of good, I want a kiss from your lips.

She went away, she cut me like a knife Hello beautiful thing, maybe you could save my life In just a glance, down here on magic street Loves a fool's dance And I ain't got much sense, but I still got my feet.

I can get onstage and cut that off and be superinstinctive. To be a good live performer, you have to be instinctive. It's like, to walk in the jungle, or to do anything where there's a certain tightrope wire aspect you need to be instinctive. And you have to be comfortable at it also.

His presidency ended more than a decade ago, but politicians, Democrat and Republican, still talk about Ronald Reagan. Al Gore has an ad noting that in Congress he opposed the Reagan budget cuts. He says that because Bill Bradley was one of 36 Democratic Senators who voted for the cuts. Gore doesn’t point out that Bradley also voted against the popular Reagan tax cuts and that it was the tax cuts that piled up those enormous deficits, a snowballing national debt.

In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.

Democrats will play the old Washington game of calling reductions in the rate of growth of spending for any program a 'cut'.

I have been very outspoken in my opposition to cuts in what I would call the means-tested entitlement programs: Medicaid, food stamps, and all of that. I feel very, very strongly that those cuts as proposed are unjust, but I am not prepared to label Ronald Reagan a "sinner."It seems to me that when you invoke the adjective "moral" you must be careful to distinguish what it is you mean by that.

Watching the completed version of The Two Towers for example, I was very conscious of scenes - sometimes whole sequences - that I had seen being filmed or edited but which hadn't made it into the final cut.

I was there when Sam Raimi showed Stan Lee the first cut of the first Spider-Man movie. I was on a couch next to Stan, watching how special effects had finally caught up to his imagination. It was insane. And I'm thinking, "He had to wait until he was 80 years old for that to happen." When they announced 'Powers' and 'Jessica Jones,' I thought, "Oh, that's nice!"

I didn't know why I was coming to this room. Someone just told me to go to Sam Raimi's office. I knew that I uniquely had the comics version of his job, which was to take Spider-Man and put him into the modern day. But I thought, "Maybe he wants to tell me to cut it out." So I come in, it's in his office, and then Stan Lee comes in, and I'd only ever met Stan as a fan, not as a professional. And then they sit us down on a couch, and roll in an AV cart with a TV on it and go, "We're going to show you the first cut of Spider-Man."

And one of the funnest things was watching what they did before the director called action and after the director called cut. And they'd keep their hands in the puppets, they'd stay in character, and then they'd start goofing around with each other and be off of script, and it would get quite blue.

If Im in the bookstore, and I see a 700-page novel, my first thought is, Ooh, how could you cut this down to size and make a movie out of it?

For me in a film, almost every scene you end up cutting a bit of the start of it out, and some of the end of it out because there's always...once you've rehearsed it and shot it, it feels like a couple of times and you can always get out sooner.

I think that's very significant that we're so attached to the idea now of - it was something I advocated for years, that you can make music in studios, music doesn't have to be made as a real-time experience. But now you see the results of that in people who are completely crippled unless they know that they have the possibility of "cut and paste" and "undo." And "undo" and "undo" and "undo" and "undo" and "undo" again.

You can't do anything interesting with cutting-edge technology except not make it cutting-edge.

Scientists, to give them credit, do not think of the humanities in a negative way. It's the bureaucrats who want to cut costs who think, Well, here's something that's not booming at the moment, let's slash it.

Actually, I had a really nice part in that movie [Ladies And Gentlemen, The Fabulous Stains]. I mean, I have, like, one second in the final-cut version, where I say "You're fired" to Diane Lane. That's about all you see of me.

Of course, when you see [ musical numbers] in the movie [Out To Sea ], it's cut into a lot with other scenes, but we shot the number straight through, so here I am doing it, and sitting right in front of me in the audience was Donald O'Connor. And I was, like, "Oh, my God, I can't believe I'm performing a musical number in front of Donald O'Connor," who's one of the greats of the silver screen. But it was a thrilling experience, it really was.

The dimensionality of 3D, the depth of field, the dynamism... it's an immersive experience. And on top of that it's great because the new glasses don't make you want to throw up and they don't give you paper cuts!

After several years in the league, when a player becomes a vested veteran in the NFL, they play under a different set of rules. For instance, if you cut a vested veteran mid-season and they don't get picked up by another team, you owe them the remainder of their salary.

Getting cut off from the knights' magic rock also required a period of exile from their giant glass mushroom. (Those of you in the Hushlands, I dare you to work that last sentence into a conversation. "By the way, Sally, did you know that getting cut from the knight's magic rock also requires a period of exile from their giant glass mushroom?")

I was at first but I mean I thought at first that I wanted a little bit of that in there but the reasoning behind what they cut and what they kept really makes sense and it really played for me when I saw it yesterday, it all worked and was understood.