In the editing process, I delete what I do not want to use, move what remains around if necessary and add elements that I feel will make my visual statement as clear and understandable as possible.
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.
Creating a book and creating a collection involve a lot of editing.
The writing itself is no big deal. The editing, and even more than that, the self-doubt, is excruciatingly impossible.
I love the auditioning process. I love working with the technical guys. I absolutely love the editing room. That was completely fascinating to me, working with an editor in crafting the thing into something you had in your head.
Caesar is not above the grammarians.
Editing might be a bloody trade. But knives aren't the exclusive property of butchers. Surgeons use them too.
Bad spellers of the world untie!
No author dislikes to be edited as much as he dislikes not to be published.
Of every four words I write, I strike out three.
Nietzsche was stupid and abnormal.
If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
In live-action, writing, production and editing happen in discrete stages. In animation, they overlap - happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
I feel that working with the camera and editing it is actually my strong suit.
Save the gerund and screw the whale.
The big issue was cutting. I finally cut as much as I could, about a fourth of the story, and actually liked it.
We're so quick to cut away pieces of ourselves to suit a particular relationship, a job, a circle of friends, incessantly editing who we are until we fit in.
Real artists find answers. The knowledge of the artisan is within the confines of his skills. For example, I know a lot about lenses, about the editing room. I know what the different buttons on the camera are for. I know more or less how to use a microphone. I know all that, but that's not real knowledge. Real knowledge is knowing how to live, why we live, things like that.
(R)eality TV (is) a medium dedicated to the proposition that with the help of judicious editing, carefully chosen half-wits can hold the attention of millions of their fellow half-wits for weeks on end.
Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting
The secret to editing your work is simple: you need to become its reader instead of its writer.
I don't like camera trickery and editing and doubles and all of that.
I tend to write things seven times before I show them to my editor. I write them seven times, then I take them on tour, read them like a dozen times on tour, then go back to the room and rewrite, read and rewrite... I would never show him a first draft, because then he's really going to be sick of it by the twelfth draft.
The greatest films ever made in our history were cut on film, and I'm tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.
Film editing is now something almost everyone can do at a simple level and enjoy it, but to take it to a higher level requires the same dedication and persistence that any art form does.
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