The funny thing is, when I've gone through the relentless editing process, my editor and I are amazed the Mercy Watson books still make us laugh. The same jokes that made us laugh the first time around still make us laugh in the 16th rendition.
Songs are like my children, from the concept phase, to writing, to recording, then editing and all of the work that went into it and the millions of listens. Then you move away from it and you never see it again.
Ultimately your job as an actor is to perform however you're being asked to perform and there's many different procedures as an actor that you're going to run into that you should be prepared for and be ready to go to work and do the best you can and give the director the best thing you can to hopefully give him things on that day that could be shot preserved and out into a canned, then when they go into the editing room that's where a movie's made.
Not only do you need great lyrics, a great message, a great story, great vocals, great chords... you also need great instrumentation, great editing, great sonics, great mixing, and great mastering. It all comes together to make something truly great, and I think each element combines together to create a powerful impact on the consumer.
The editing of a song is largely what makes the song for me and I think that actually if I had started going like 'I want you to burn' it would have pinned that song down to a particular thing and made that song a smaller idea than what it is. By leaving that off it's much more open, broader.
I have a company where I'm trying to get projects off the ground. Me and my partner Madeleine Sackler, we just shot our first feature in a maximum security prison where about 95% of the cast were incarcerated men. We're editing that and there's a doc going with it.
The way I perform or the setup is always same - just me and a microphone and the text - and they usually have some relation of how physical that stack becomes. When I'm editing it together, the density of the papers is an indicator to be like, "You need to stop."
The thing about how that process works is that it's more about the editing and time for judging the ideas. Most pieces I publish each week have been around for months. This is a response to the beginning of the strip, when I was making them so quickly. I would just conceive a piece, finish it, and then the next day see it in the paper. That was when I was doing dailies four days a week.
Finding the fine line between satisfying a daytime TV audience and an afternoon radio audience. That involved editing down my delivery to under an hour. I've been blessed to have great producers and a great staff to achieve that. I have a small team but they're very efficient.
You can assume all photo and video is constructed as a fiction controlled by the person holding the camera and the person who is editing.
"Kindness" can mean a lot of different things. In this case, I felt I had to present his [Donald Trump's] supporters in as fair a light as possible - many of them hadn't been interviewed before and that entailed some interviewer-courtesy in the editing and so on.
My photographs are not really about photography. They are about editing. I use photography but they are all taken from the TV screen. Anybody can do that, but it's the order I put the pictures in to try to create a new kind of movie, something that you can put on your wall.
I confess that Roy [Stryker] was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.
One of the advantages of shooting digitally was that we had a lot of time. When you shoot, even if you do a good performance, it may get lost in the editing room. It's just one more way that a potentially good film might go astray.
I never go to the monitor. I just look at the camera monitor and my favorite part of all of the directing, except for the writing and editing of it, is right when we're rolling and they do lines and I'll say "Try this, try this, try this."
And I watch all the dailies and I grade the jokes or the moments, you know, on a scale from... so I know exactly what we have. And so I can then go into the editing room and be like "I want you to do this moment, this moment, this joke, that joke. I'd like to see 3 versions."
And then my editor really likes that because he's left alone to do what...to create those things instead of me breathing over his shoulder and I like it because I don't have to sit in the editing room all day. I get to watch just dailies.
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.
During the preproduction when I'm shooting and then once we wrap we go away. And then the visual effects guys take over. And then they add all those little bits and pieces. They come up with ideas during the cut in the editing, and they said while would be really cool if we did this thing here where the blade pops out. So then you see the movie and say wow that's a really neat idea. I wish we would have thought of that.
You can really do some clever editing even within the limited two-track format.
Photography is an individual passion of mine. I don't get paid to do it, although people offer me money. I do it because I love it, and if there's no money attached, I don't have to do anything. It's my weekend away, my vacation, whether it's an hour or five hours or editing photos on my laptop in the middle of the night. It gives me relief from all the other stuff.
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.
Whenever you take a subject you're obsessed with or that haunts you, and make a movie about it, you're converting it into work units that need to be completed. You gotta turn it into a treatment, a script, a grant application, a bunch of forms to be filled out, a shooting schedule, casting sessions, auditions, shooting, editing, music compositions, the film festival circuit, interviews even. And by the time you've finished the process you're so sick and tired by something that was once very precious to you that you're done with it.
I think we filmed a lot of the recording and it would be nice to do something with it but you know, videos are tricky because we know how to make albums but I'm not very good at video editing .
When I made YouTube videos, I am the one who's uploading it, I'm the one who's editing it, so I'm very in control of what I'm sharing and not sharing. Whereas in music, it's a lot more of pouring my heart out and kind of just putting it out there for the best.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: