Edits Quotes

The problem when you edit a film together, when you shoot a film, you are drawn into the moment. You want each moment to be special and full of life.

The question is not whether a picture is good, in some formal, technical sense, but, does it mean what I need it to mean? Writers can edit sentences that may be well-crafted but that don't express an intended thought. But in photography, there are no revisions: A photograph is in or it's out, and the photographer must live with the consequences of his or her choices.

One of my favorite occupations is making radio/video edits. I love singles.

I have the exact opposite problem of every writer I've ever met: Every writer I've ever met writes things that are too long, and they have to edit them down.

When I started publishing, I got offers to write for big magazines. But I would always say, "Well, it's not that I don't want to write for these big magazines, but you can't edit it."

When you edit, you imagine your enemy is seated on the other side of the table. Your enemy! And your enemy is going to read that with a viciousness, because he knows where you didn't work on it. He's going to shake it and really aim for that jugular. So you are going to polish, and revise, and rewrite, and cut out, and shape it, so that your enemy has no place to grip it. That's how you revise.

I was trying to see if I could produce an episode - completely write it and research it and record it and edit it - all by myself in a week.

The irony is that I use computers every day of my life to do music because I edit all of my music in a computer. But when it comes to doing live processing, I prefer, as a performer with an instrument, not just having the computer as the only thing I have. I really prefer and find it much more flexible to have the limitations of pedals.

It's really liberating and fun to be writing stuff for myself, and really have the freedom to say what I want to say and not really have to think about what somebody else is going to say or have to edit myself to speak from someone else's vision.

Even other movies I wasn't involved with, I'd watch them edit 'cause I really enjoy watching them go through their process. It's a very economical, educational process.

We've done things that are faster at times, but it's definitely different when we direct all the episodes because it's like we have to write them all, then shoot them all, then edit them all. So we have to just get ahead on those scripts basically.

I can tell when an actor's forcing tears, and it's tricky because you then have to film it and edit in a certain way to skirt around the issue.

Actors tend to not know how their performances are going to actually be used. Even though the script says one thing, in the edit, it can be something else.

If our dreams could edit the news (and sometimes our nightmares) these poems are how they'd wake us up to the urgency of our times.

Architecture is like writing. You have to edit it over and over so it looks effortless

I like to edit; I like to work with other people, and that's something stand-up doesn't really have.

I think this is an exciting time to be a female filmmaker. Trust your instincts, work harder than anyone else and learn your craft. Know it all. This means learn how to shoot, edit, produce and direct. Get as much experience as you can and watch a lot of films.

There are not that many people who know how to edit. It's a funny tiny little obscure talent but it's very special. You have to have the feeling of popular taste.

My friends from the University of Texas. I've had the same friends for over a decade. My brother films a lot; he usually edits my Workout Wednesdays. All the people who work on my projects are amazing.

Each book takes anywhere from two to three years to complete, from concept to outline to final edits. I work on as many as five at a time.

[Bill Shawn] didn't edit the writers very strongly, but he knew what he wanted.

I was going to be credited as Wray Nerely, my role in Con Man. It got cut in the reshoots. I was like, "Wait a second. I'm cut." It's a better telling of the story, but unfortunately, Wray Nerely gets cut, which is actually exactly right because if Wray Nerely was ever in Star Wars, he wouldn't make it to the final edit.

I don't think writing stops until the film is out. In the edit, it's another draft. [The script] is the food for set, and then the set is food for the edit, and the edit is food for the screen. It's constant, and this is just the first stage of it.

This is a whole new era where we're moving beyond little edits on single genes to being able to write whatever we want throughout the genome. The goal is to be able to change it as radically as our understanding permits.

When we edit the music, I always remember, "It's my band. Save me a place to play."

One of the tropes of our videos is that they were very rhythmic with clipped edits.

When you get into the edit you'll understand what making a film is. You'll see all the things you missed and all the possibilities you have from what you shot.

I don't get particularly precious about things like this, though. Like the record company said, "We need a radio edit that delivers the hook" - I don't even know what they consider the hook in that song ["Oh No"] - "that delivers the hook sooner." So I'm like, "Okay. I see that." And they were all walking on eggshells, like is this going to be sacrilegious to me or something, to mess with this art I've created? And I'm like, "Great. I get to tinker with it, I get to mess with my song some more."

We are so used to not having kids around [on Twilight] that we had to really make an effort to try and edit our language.

I'm too diplomatic. I tend to edit my mind before I speak - it can be incredibly draining.

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.

They put me in an office with the TV set up and said "Here's the tape. When you're finished writing your copy for the little trailer you're going to do, you'll come out and show it to us and we set you up to go edit it." I turned it on and it was just this hardcore film and I was like, "Oh my God, I've fallen down the rabbit hole."

Anyone who edits their own copy has a fool for an editor.

I think training your instinct comes from writing and reading. There's no big secret. And reading slush helps, as well; I'd recommend everyone edit a literary magazine at some point. It's time-consuming, but there's a lot to learn from other writers who are also learning. The patterns (twelve stories about whales in this batch?) are also interesting.

It's the ultimate identity theft when you start messing with somebody's work. Thinking that you could edit the work, or mix it differently, or re-EQ it, or make claims about it that aren't true.

You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.

I don't think my playing style has really changed over the years; it's just gotten better. I can hear the improvement in comparing older records and later records. I'm referring to soloing ability, to having a better sound, to knowing chords better, and getting rhythmically stronger. It also has to do with ideas - learning how to edit your ideas and being better able to follow ideas out to a logical conclusion.

I love filmmaking because it's like harvesting as a farmer. I have an idea, I get the financing, I write the script and then cast and shoot and edit. Then there is opening night, and after that I get another idea.

Write drunk; edit sober.

There are people who just collect a bunch of footage and then edit it later. You definitely feel more protected when a director is moving on when you've actually felt something happen and you know they're watching intently.

The only advice I can give those who want to sell thei films is to surround yourself with people who are friends and people who believe in you and your material and who are going to help you take it to the next level. It doesn't mean you don't listen to criticism but you listen to it and edit it and you figure out what you can take.

Yes, in my books I do edit myself to keep from becoming the Village Explainer.

You don't want to get too far ahead of the audience and you don't want the audience to be ahead of you. So, that balance is difficult and it takes a lot of work and tuning in the edit, to get the right balance.

There are certain scenes in the edit you're playing with it and certain scenes don't put back together the way you imagined. Sometimes they're better and sometimes they don't have that thing, so it's never foolproof. But you certainly get an idea that here we've got enough and we've got to move on because you're always against time and money there. Whatever the budget is, you have to get practical about it.

Since I shoot, record audio and edit, I was able to begin the filming without hiring a crew and create a sample to show broadcasters and grant organizations.

Being a journalist, I never feel bad talking to journalism students because it’s a grand, grand caper. You get to leave, go talk to strangers, ask them anything, come back, type up their stories, edit the tape. That’s not gonna retire your loans as quickly as it should, and it’s not going to turn you into a person who’s worried about what kind of car they should buy, but that’s kind of as it should be. I mean, it beats working.

Why, it appears that we appointed all of our worst generals to command the armies and we appointed all of our best generals to edit the newspapers. I mean, I found by reading a newspaper that these editor generals saw all of the defects plainly from the start but didn't tell me until it was too late. I'm willing to yield my place to these best generals and I'll do my best for the cause by editing a newspaper.

Anything can happen in SF. And the fact that nothing ever does happen in SF is only due to the poverty of our imaginations, we who write it or edit it or read it. But SF can in principle deal with anything.

I adore vintage clothes. When I go on the road doing auditions for So You Think You Can Dance, I always research the cities we're traveling to so I know where all the best vintage stores are. There are several stores and flea markets I love here in LA. Shareen is amazing with the best edit in town! Golyester is great. I really enjoy the Rose Bowl market. A word of warning: wear layers, comfortable shoes, be prepared to hunt, and fuel yourself with a bucket of cappuccino! Enjoy!

The actor shouldn't edit themselves or be anxious. And the actors that I admire are always the ones who are inventive and their imaginative life in free-willing. It's a director's job to go, "No here, don't do that, go there."