Editing Quotes - Page 9

Creating a book and creating a collection involve a lot of editing.

I feel that working with the camera and editing it is actually my strong suit.

For I am a bear of very little brain, and long words bother me.

I never ever see a film of mine after I release it to the public. I see it when I shoot it in my dailies and while I'm editing it, re-editing it and reshooting it and all that. By the time it's finished I never want to see it again.

I basically went into business for myself. But it never amounted to anything. I learned a lot about editing and dubbing by watching all the professionals do it, but I never got a job out of my imposition.

I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.

You collaborate with actors who are also talented and visionary and come together on a artistic direction within the confines of humanity and realism. The collaboration that you have had with all of these people plays an integral role in its final stage where editing and music are combine to enhance your work. This whole process is very rewarding and I wouldn't trade it for anything.

When I'm editing, it's such a tough call, and I get challenged on it all the time. You've got to go with your gut - sometimes when you look at a photograph, you just know it's the shot. Sometimes it's about the connection, or about the simplicity of the composition.

I think you either have chemistry or you don't. If you could create chemistry in the editing room then there would be no films without chemistry, obviously, because there are a lot of good editors out there who'd be able to take care of that then if that's how it really worked.

I've always equated the writing process with editing, sort of like when I get through editing the movie, that's like my last draft of the screenplay.

The film is made in the editing room.

When we were shooting the movie, and of course in the editing room we had to make choices, but the shots fall almost exactly where we thought they would. They're not about content; they're never meant to be about what just happened. There's that weird phenomenon where the more you like a movie the more your mind wanders and goes all over the place.

The one thing I have learned about editing over the years is that you have to edit and publish out of your own tastes, enthusiasms, and concerns, and not out of notions or guesswork about what other people might like to read.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.

I like the idea of chance coming into filmmaking, in shooting, in editing, and I do make space in my rules of game for chance.

I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called Film Culture.

Well, Toronto, I consider to be the birthplace of my films. I've made three films and this is the third one to premiere here in the same theater on the same day at the same time - they are my audience. They're the people that I think about while I'm writing, directing, and editing. I specifically make movies for them.

I was the Playmate editor for Playboy for two years. I produced two years' worth of centerfolds. I did everything on that, from picking the girls to designing the sets to picking the wardrobe, coming up with themes, assigning the photographer, down to editing the photos and approving the retouching.

Editing is the same as quarreling with writers — same thing exactly.

Anyone who can not write should.

Shooting an improv-based film is incredibly liberating, exhilarating, and fun, but editing that kind of movie can be difficult for obvious continuity reasons.

This notion of changing technology interests me. I work on a computer now, and it's not been easy to adjust. I still prefer to have my hands on film when I'm editing.

A 3K word story might well be done in some caffeine-and-nicotine-fuelled 36 hour session, and at the end of it, there'll be a few passes of editing required, but I basically have a polished draft.

Could I do with a little life editing? Would that give me a little more freedom? Maybe a little more time?