I wasn't a fashion editor. I was the one and only fashion editor.
I'm trying to work only with established, respected directors. I took a lot of bad scripts and worked for a lot of lazy directors, and it was discouraging to go to the screenings and see that the director had added nothing, the editor had added nothing, there was nothing to see.
There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. But if you don't have something deliberate made, you're not gonna save it in the editing room.
My biggest advice would be to take the pictures you want to take. Don’t think about the marketplace, what sells or what an editor might say. And don’t think about style. It’s all bullshit and surface stuff. Style happens.
Musicians in my day had nicknames. My name was "Satchel Mouth," like a doctor's satchel. When I went to England this fellow was strictly English, and he was editor of the newspaper there. He shook my hand after I got off the train and said, "Hello, Satchmo." So right away my trombone player said, "Mmm, the man thinks you have mo' mouth than Satchel Mouth." So I was stuck with it, and it turned out all right.
Be your own editor/critic. Sympathetic but merciless!
Part of the discipline of being an editor is that you have to be a good audience member; your work is to be a surrogate audience member on the films you are working on.
The 'creator' and the 'editor' - two halves of the writer whole - should sleep in separate rooms.
the unconscious forces that govern accessible memory are the most arbitrary of editors and the absolute masters of our lives.
I've learned over time that every editor has told me when you're getting that much hate, you don't talk about it. You just kind of don't give it oxygen and let it go away. It's almost - not always, but almost - always the best policy.
I try not to second-guess editors; they're the clients, and I have no expectation that my strip is going to make it into every paper every day.
The writing is what gives me the joy, especially editing myself for the page, and getting something ready to show to the editors, and then to have a first draft and get it back and work to fix it, I love reworking, I love editing, love love love revision, revision, revision, revision.
[Writing] books is really fun because your "voice" is pretty undiluted. There is a very direct connection between yourself and your audience. You will have an editor, but their job is to help you clarify or improve your voice, not change it.
I do ask every publisher, every editor, and every newsman in the nation to reexamine his own standards, and to recognize the nature of our country's peril. In time of war, the government and the press have customarily joined in an effort based largely on self-discipline, to prevent unauthorized disclosures to the enemy. In time of "clear and present danger," the courts have held that even the privileged rights of the First Amendment must yield to the public's need for national security.
I very early caught on that the editor of Cincinnati Post had something specific in mind that he was looking for, and I tried to accommodate him in order to get published. I would turn out rough idea after rough idea, and he would veto eighty percent of them. I pretty much prostituted myself for six months but I couldn't please him, so he sent me packing.
It seems from my unique vantage point as both scientist and editor of JSE that substantial evidence exists of "something going on".
Anyone who edits their own copy has a fool for an editor.
You had to get everything exactly right or the editors would give you hell.
I dare say you will try to make me believe that Editors are human. Now I deny that, for I myself have, in past days, had evidence to the contrary.
I think I'm equally as abusive as the editors normally are for the "Letters and Tomatoes" column, which is the fan mail part of MAD Magazine and an ongoing feature.
Los Angeles people are incapable of passively mainlining TV and movies. Here you have to read who produced or directed every episode, who wrote it, who had guests shots and whether you know them personally and if they like you. You have to figure out who everybody's agent is and whether yours is better. You not only know but deeply care about the difference between such job titles as Producer, Supervising Producer, and Executive Story Editor. ... So while the rest of the country is lying stupid in a media-induced coma, people in L.A. are in constant withdrawal.
An editor is someone who separates the wheat from the chaff and then prints the chaff.
An editor should have a pimp for a brother so he'd have someone to look up to.
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.
I have always had a hard time revising my work as a journalist, which was never much of a problem. You always have editors as backstops. Their job is to perfect your story. Most of them want to be useful.
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