Editing Quotes - Page 16

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.

Writing is all about self-editing; it's all about being present being aware of what's happening

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.

I think we filmed a lot of the recording and it would be nice to do something with it but you know, videos are tricky because we know how to make albums but I'm not very good at video editing .

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.

Basically, I composed the musical structure in one pass. The rest was editing and small adjustments. And when the play was read by actors with the music, the sequence timed-out perfectly.

I think an editing style is something that is ascribed to the work after-the-fact. I don't think you go in with a particular intention, but I think if there is an integrity to the work and the material you are working with, the work comes from the nature of that material.

I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room.

I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.

Directing, editing, and everything about filmmaking has definitely changed me as an actor.

Directing's the best part. Whenever I've directed something, there's this feeling of demand and focus that I like. And secondly, it means that you've gotten through all the writing stuff, and the producing stuff, and casting, and prep, and all those stages that are seemingly endless. So directing is sort of the reward for all the work you put in before. And then there's the editing, which is another amazing stage of the process. It's incredible the moments you can create.

The great thing about doing physical comedy for film is that if it doesn't work you're not exposed. It ends up on the editing room floor, so it gives you a lot more room to experiment I guess. But I really enjoy doing it. I'm very comfortable tapping into my inner idiot.

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

There is anxiety, but it comes after you've finished filming because it's out of your hands; people are editing it, they're cutting it, marketing it. And it's... part your career sort of rides on that. But when you're actually filming it's a team thing and it really feels good there for me.

Flatulency today consists in saying simply in several different ways the same thing over and over again.

There was no actually stock footage in "Medium Cool." I wrote the script. I wrote the riots. And I integrated the actors in the film in the park during the demonstrations. But nowhere was it like we had stock footage and then later, in editing, integrated it into the film. It was all done at the time.

I'm organizing documentary films, and whenever scriptwriting gets too tedious I go to my editing room and start to edit the documentary, even if I don't have the full funding yet. So you have to keep yourself busy, you have to like the subject matter.

Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.

I don't do any research. It's all about gut. Editing - it's always about gut.

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.

The writing is what gives me the joy, especially editing myself for the page, and getting something ready to show to the editors, and then to have a first draft and get it back and work to fix it, I love reworking, I love editing, love love love revision, revision, revision, revision.

One of the first decisions I made, as the director of "Hide and Seek," was that our film would be silent and use underscoring of original music that I was planning on composing. The decision was mostly predicated on knowing how time consuming the editing of dialogue can be and given the various locations we shot in, I didn't want to worry about having to mix room tones in such a short amount of time.

A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.

Paris is a beautiful city to walk around in. And, you know, all the obvious things: I like the museums, I like the theater, I like the dance. And it's manageable. The food's good. I know a lot of interesting people here. I lived in Boston for 50 years or more. Wherever I am, I'm usually holed up most of the time in the editing room, and so, when I leave the editing room, even if I just take a walk, it's gorgeous. And I walk everywhere. I'm a victim of the seduction of Paris.

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.