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.
A writer without a sense of justice or injustice would be better off editing the yearbook for a school for exceptional children.
The editing of moving pictures is geared toward the single image. You'd have to edit things in new ways.
I never start editing a film until it's completely shot; I don't edit along the way, ever. When it's finished I come in here [screening room] and we start with reel one, scene one and start editing shot by shot by shot until we're finished.
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.
As a young filmmaker, I shot a lot of stuff because I wanted to make sure that I got everything, but now I've gotten much more precise with my shooting. Editing is a whole other layer because then, sometimes you realize characters don't even need to say this or that. It becomes an issue of exposition, and over-explaining something. In the script, I'd reinforce certain things about what I wanted people to know two or three times, but in the editing room, I'd be like, "I only need to say this once, maybe twice."
For some reason at Sundance, more than other festivals that I'm aware of, you find filmmakers rushing to screen works that sometimes aren't completed. In my seven years of programming at Toronto, I'm not aware of any documentaries that went back for serious editing after their premiere - other than those presented as works-in-progress. But at Sundance every year there seems to be a few films that push the deadline so hard that they get taken back to the edit room afterwards.
With comedy, you get an immediate response. I'm the whole kit and the kaboodle. I am the whole thing and can steer the whole situation how I want to. With film, you are basically in one area. Comedy is straight to it and the film is heavily shaped the camera and editing, so it's different.
Your job as an executive is to edit, not write. It's OK to write once in a while but if you do it often there's a fundamental problem with the team. Every time you do something ask if you're writing or editing and get in the mode of editing.
The discipline of writing a memoir comes in the editing. This is where I cut, slash, and burn - where my creative mind is transformed into a ruthless one. No word escapes my scrutiny. It is here where I see what boundaries need to be set.
I'm a fierce editor! I don't edit out things that I began by saying, usually. The editing is on the micro level - a comma here, a word there.
The border between editing and ghostwriting is, at its extremes, a bit porous. An editor really improves and sometimes restructures a manuscript and suggests changes.
Editing is the same as quarreling with writers — same thing exactly.
Editing should be, especially in the case of old writers, a counselling rather than a collaborating task. The tendency of the writer-editor to collaborate is natural, but he should say to himself, 'How can I help this writer to say it better in his own style?' and avoid 'How can I show him how I would write it, if it were my piece?'
The editing process is a necessary evil. I can write until the cows come home but it is all garbage until it gets edited.
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?
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.
And so you try your best. Sometimes you go in with one thing, with one desire and come out with something else. In the case of 'The Aviator' it was to create a Hollywood spectacle, but by about the second or third week of shooting you just want to literally survive it. Because don't forget, I also go through the editing process too, and when the film is released I have to talk about it. So, I take all of that very seriously.
The creation of the island, or the impression of the island, as it changes in the mind of the character also came in to play... there was another very important collaborator, Rob Legato, on special visual effects. And then ultimately there's Thelma Schoonmaker, who keeps me focused during the editing of the picture.
Even if I loved the script, the director has to be right because it's all about the filmmaker. It's their vision. They're the ones that go back into the editing room and reassemble the film.
It's a nightmare of editing. That's what I do all day.
I'm more relaxed about how the editing process will create a performance and that, in a way, gives me a sense of freedom.
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.
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.
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