I hate movies that take a long time to shoot or directors that labor over every shot or do excessive amounts of coverage and excessive takes and don't keep things moving or constantly cutting.
As soon as the actor steps into the role, you probably can cut 50% of the lines because there's a person there now. And what a person does with their eyes, with their mouth, with their hands, the way they walk into a room, you can probably cut half the scene.
I regret not dancing more, just cutting loose on the dance floor. I still admire those who don't care much about what others think of them.
The editing process, to use a slightly grim analogy, is like the slow suffocation of lots of babies. It's like, which finger do you want to cut off first?
I am crazy about time cuts. I have a theory that the audience tie everything together so they don't see time cuts but the time cuts give us the possibility of jumping in time, which means a psychological evolution can be cut down.
3D doesn't work quite so well with quick cuts and I probably would have done some longer takes had I really taken that information onboard.
My first cut that I showed the studio was probably 2hrs 20min.
I was writing with different people in Nashville - whoever I could. Eddie Hinton came on the scene about 1963, and about four years later we wrote a ton of songs together. I drifted around, but Eddie and I had some cuts through the '60s and '70s. I went on the road with Kris Kristofferson in 1970.
I'm very into the military and police stuff. Gear and technical gear is something that's changing every day and every day you're trying to be on the cutting edge and improve your stuff more and more because your life depends on it. And so, the guns and the gears are changing constantly.
There was a whole cut of the movie where Tom Holland decided to try a woman's voice for the voice of Chucky, proceeding from the logic that it worked with Mercedes McCambridge voicing the voice of Satan in "The Excorsist" so he thought he would give it a try. It didn't really work. Chucky just sounded kind of gay.We brought that back in Seed of Chucky.
Literally, the piece at the end is where the universe is cracked apart, it's a big moment. Basically, they, the filmmakers, have directed the story earlier in the book. It happens, it's called adapting a book, you have to make decisions about things. It's not unusual having to cut out scenes.
I've done movies in the past that have so many characters and I find it's very hard to follow all these stories. You end up not caring about any of the people and I thought that would be the case in this film, and you had these big speeches for each character, you know, it's like "God that's how you'll have to cut that down in order to paste it all", to edit the movie and my representatives could say "no, you really you ought to check it out.
I find things funny that aren't self-aware. That don't know they're funny, and I think the same can hold true for drama. If you think you're in this tragedy and you play it for tragedy, there's a self-awareness there that I think takes you out of watching it and I believe it cuts both ways.
The challenge in writing the songs for The Aristocats truly fell on the animators & director of the film. Robert & I wrote the initial songs for the film, just prior to leaving full-time employment at the Walt Disney Studios. Therefore, some of the songs we wrote for The Aristocats were never used. I believe, therefore, the challenge fell upon the makers of the film to select what songs made the final cut.
I got a call from Tom Hanks, who directed That Thing You Do!, when he was done cutting that film. I was like, "Oh, my god. Tom Hanks is calling me. This is amazing!" And then, of course, he was calling me to tell me that I was barely in the movie. But I'll never forget it - and this is why he's Tom Hanks, because he's got such a way with words.
Just when you think you're hitting your stride someone will shout "cut" and ask you to move your head to the left. It's such an awkward process. You try to make it passionate but it ends up being mechanical.
Then there's your diet. You cut out sugars, fat, soy sauces... anything that's nice. Tea and coffee is replaced by boiling water with lemon. It's amazing how quickly you get into it. There's also herbal tea and a lot of water, obviously... about two litres a day.
We're not going to give tax breaks to billionaires and then cut back on the needs of our elderly or poor or kids or education. We're not going to privatize Social Security - in fact, we're going to strengthen it. We're going to provide quality education for every kid in America, from preschool through college. We have to take on these corporate leaders who are selling out the American people, whose allegiance is now much more to China than it is to the United States. If we have the courage to take these people on, I think we can overwhelm George W. Bush and his friends.
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!
It goes back a long way. I wanted to make Tristan + Isolde as my second movie. My first movie was The Duellists. And I was standing in a very romantic part of France looking around me thinking, "My God, this would be perfect for Tristan," and to cut a long story short it never happened because I did Alien instead.
I'm at a stage in my career where I don't expect or get too much editorial input into what I'm doing. I have a proven track record of success, so my editors are willing to cut me some slack even when a particular approach is not to their personal taste.
What's really interesting is when you get a brand-new wave that has no connection to anything else. It always reflects society. The flappers would cut the dresses and make them looser, they smoked, their hair was short. It was a rebellion against the corset and the Edwardian era.
My dad told me, 'Your movie's never as good as the dailies and never as bad as the rough cut.
I think that's something that always enticed me about the '40s - back then, the glamour and the style - you couldn't really make it up. You just were or you weren't. You either fit in that world or you fit in the other. Things were very cut and dry. Things were simple. There wasn't a whole lot of excess or flash to be flashy; it was real flash, and real excitement.
I'm a black American playwright. I couldn't be anything else. I make my art out of black American culture; they're all cut out of the same cloth. That's who I am; that's who I write about.
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