Editing Quotes - Page 17

• I would bring Patti [Smith ] in to the editing room [working on the Dream of Life] and say, "This is a great moment for a voiceover, or a poem," and then we'd bring in some sound design.

  Steven Sebring

  Dream, Design, Sound

  Source: www.pbs.org

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• Angelo Corrao was our editor [in Dream of Life], and he was just so diligent and so old-school in the way he looked at editing. He would take my far-out ideas and tame them and make sense of them.

  Steven Sebring

  Dream, School, Editors

  Source: www.pbs.org

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• That was an amazing experience [making Dream of Life]. It's hard to imagine that we were editing every day for a year. And it was pretty extraordinary; it also went by super fast. But every day was an experiment.

  Steven Sebring

  Dream, Years, Imagine

  Source: www.pbs.org

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• The film [Dream of Life] came together when we started editing; it was organic, it became nonlinear and it was its own animal. And I didn't want to tame it, either. I wanted it to be different. It's not your typical documentary.

  Steven Sebring

  Dream, Animal, Together

  Source: www.pbs.org

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• Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.

  Steven Sebring

  Dream, Men, One Day

  Source: www.pbs.org

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• 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.

  Judith Thurman

  Editors, Borders, Sometimes

  "Ask the Author Live: Judith Thurman on Laura Ingalls Wilder". Live chat, www.newyorker.com. July 31, 2009.

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

  Harold Ross

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• 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?'

  James Thurber

  Writing, Editors, Style

  James Thurber (1990). “Collecting Himself: James Thurber on Writing and Writers, Humor and Himself”

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• 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.

  Ed Helms

  Air, Giving, Cameras

  Interview with Keith Phipps, www.avclub.com. June 3, 2009.

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• 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.

  Philip Morrison

  Fall, Choices, Mind

  Source: www.indiewire.com

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• If you take a big epic novel and you shoot it, when you get to the editing room you notice that it has 2 million climaxes, which fill the whole 90 or 100 minutes. Then you realize you can't cut them out because if somebody is dying and you cut that out it seems like they just disappear from the film.

  Pirjo Honkasalo

  Cutting, Epic, Dying

  Source: blogs.indiewire.com

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• I spend a lot of time in preproduction working with authors, and a lot of time in postproduction.: editing, music, all that sort of stuff. Casting. On the set there's not a lot for me to do.

  Charlie Kaufman

  Stuff, Casting

  "'Synecdoche, New York' Director Charlie Kaufman". Interview with Howard Feinstein, www.indiewire.com. October 24, 2008.

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• [on editing of the films] There is always a question of time, and the director. I've worked with a lot of directors who don't mind my involvement. They appreciated it.

  Richard Gere

  Mind, Directors, Film

  "Richard Gere: Beyond the Limit with the star of the 'Cotton Club'". Interview with Maura Moynihan and Andy Warhol, www.interviewmagazine.com. October 1983.

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• 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.

  Ethan Hawke

  Ideas, Want, Rooms

  "Ethan Hawke’s Fifth Elements". Interview with Emma Brown, www.interviewmagazine.com. June 14, 2012.

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• If you give the same 200 frames to 200 different people, they'll all probably pick a different frame. The key is editing. Be intuitive enough to be shooting at the right moment, and when you're seeing the action happening just as you want it, shoot. And in the edit you have to go with your gut.

  Russell James

  Keys, People, Giving

  Source: www.interviewmagazine.com

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• 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.

  Russell James

  Simplicity, Connections, Looks

  Source: www.interviewmagazine.com

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• 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.

  Martin Scorsese

  Desire, Trying, Hollywood

  Source: www.indielondon.co.uk

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• I'm more relaxed about how the editing process will create a performance and that, in a way, gives me a sense of freedom.

  Ralph Fiennes

  Giving, Way, Process

  "Coriolanus - Ralph Fiennes interview". Interview with Rob Carnevale, www.indielondon.co.uk.

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• 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.

  Cameron Diaz

  Vision, Directors, Rooms

  "The Holiday - Cameron Diaz interview". Interview with Rob Carnevale, www.indielondon.co.uk.

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• 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.

  Ed Helms

  New York, Real, Acting

  Interview with Keith Phipps, www.avclub.com. June 3, 2009.

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• The editing process is a necessary evil. I can write until the cows come home but it is all garbage until it gets edited.

  Kim Smith

  Home, Writing, Evil

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• 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?

  Edgar Wright

  Baby, Cutting, Use

  Source: www.theguardian.com

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• 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.

  Isla Fisher

  Giving, Rooms, Comedy

  "Isla Fisher Talks Confessions of a Shopaholic". Walt Disney Studios Home Entertainment interview, movieweb.com. June 29, 2009.

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• It's a nightmare of editing. That's what I do all day.

  Billy Lawrence

  Nightmare

  Source: www.movieweb.com

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• 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.

  Martin Scorsese

  Character, Islands, Play

  Source: www.indielondon.co.uk

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