Editing Quotes - Page 17

I'm making art and making decisions and editing things. I don't live my life to broadcast it into the art world; I don't see it as my life on the stage.

Should novels generally be 600 pages? No, they should not. Half of writing, maybe 3/4 of writing, is editing. This seems to be a thing that has not gotten through to them. It's my impression that you could get rid of half of most of these books. These people are not good enough to be this long, but they're apparently also not good enough to be shorter.

The idea that a film is created in the editing room - it's only a certain kind of movie that's made in the editing room and it's not one that I really want to see.

There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. But if you don't have something deliberate made, you're not gonna save it in the editing room.

I have an amazing team, I have amazing producers, I have amazing writers, but at the end of it, it's me making the decisions on the writing, the tone, the editing.

I like to kind of change my performance so that there's more to play with in the editing suite. At the same time I think by the time you've done say 55 takes you're exhausted and you've kind of lost the power behind it that you had on take #1 or take #2.

Allowing artist-illustrators to control the design and content of statistical graphics is almost like allowing typographers to control the content, style, and editing of prose.

Editing is the most companionable form of education.

Sometimes you just create a joke out of thin air in the editing room. So I'm really glad I've had that experience. It gives me a little more confidence in front of the camera.

Going into editing when I got to New York was part of that. I guess I just kind of wanted to know as much as possible. But I have a real love of the whole process, from start to finish. So right now, I fit into the acting part of the process, but I wouldn't rule anything out. I'm enamored with how the whole thing works.

Once I'm in the editing room, forget about what I intended to shoot. I take a cold, hard look at what I really did shoot, and then I edit that because, if you try to edit what you intended and you missed somewhere, that will show up.

When you are acting in a film, you have no idea what scene the editor is going to choose. For instance, after you have directed, you feel more comfortable delivering a performance. Because you know the real performance is put together in the editing room.

You can really do some clever editing even within the limited two-track format.

You see the movie with the music and the editing and all the parts that you weren't there for when it was being filmed, and you really appreciate all the names that are scrolling by. You realize that you accomplished so much.

Creatively, editing was the most painful part of the process for me.

You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.

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.

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.

Thomas Jefferson went through the New Testament and removed all the miracles, leaving only the teachings. Take a source, extract what appeals to you, discard the rest. Such an act of editorship is bound to reflect something of the individual doing the editing: a plaster cast of an aesthetic-not the actual thing, but the imprint of it.

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.

Writing is probably one-fifth coming up with the stuff, and four-fifths self-editing again and again and again.

The editing of moving pictures is geared toward the single image. You'd have to edit things in new ways.

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.

If we had a completely found footage feel, with no editing, then we would have a twenty four hour movie and that doesn't really work either.

In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.