It is perfectly okay to write garbage – as long as you edit brilliantly.
Phooey, I say, on all white-shoe college boys who edit their campus literary magazines. Give me an honest con man any day.
I definitely prefer the single camera better. For me it's the simple fact that I enjoy working in front of an audience, but when you're trying to create a suspension of disbelief it's much harder to do in front of audience because they become a partner. Moreso than that, they become in charge of the timing. From the simple, mechanical fact that you have to hold for their laughter. The actual timing of the scene is in the hands of the audience. As a control freak, I don't enjoy that as much as the ability to be able to control it in an edit room.
I was talking to Shonda Rhimes the other day and I said, "I. Do. Not. Know. How. You. Do. This." While we're writing episode 10, episode 6 is shooting, episode 3 is in the edit, and episode 2 is in its color session...You've got seven episodes in different parts! It's a wild, wild, wild ride, which I thoroughly enjoyed. It was badass and amazing.
The true function of art is to criticize, embellish and edit nature… the artist is a sort of impassioned proof-reader, blue penciling the bad spelling of God.
You can't edit a blank page
I walk outside and scream at the top of my lungs, and it maybe travels two blocks. A whale unleashes his cry, and it travels hundreds or even thousands of miles. Every whale in the ocean will at one time or another run into that song. And I figure whales probably don't edit. If they think it, they say it...Whale talk is the truth, and in a very short period of time, if you're a whale, you know exactly what it is to be you.
Love and death are very similar. They're the times in your life when you most want to believe in magic, when you yearn for some symbolic act or retrospective edit that can change the world you find yourself in.
Without poets, without artists... everything would fall apart into chaos. There would be no more seasons, no more civilizations, no more thought, no more humanity, no more life even; and impotent darkness would reign forever. Poets and artists together determine the features of their age, and the future meekly conforms to their edit.
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.
Even my novels offer passages in which the major character is imagined as a writer. In Joss and Gold, Li An is a business writer who edits her company's weekly public relations magazine. And in Sister Swing, Suyin writes human interest stories for a free, local community paper, The Asian Time.
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.
The real battle is in choosing in the edit room. It's in how you contextualize information.
I think the best advice I got was to not worry about what other people would think while you were working on your first draft. Focus on getting it out of your head. You can always edit the manuscript later.
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.
I write dozens and dozens of pages more than I need, and then edit them down to size. It's more like sculpture than construction.
As an editor, you're constantly dealing with the best way to convey an exchange between two people. So when I'm shooting that, I'm just aware in the back of my head what an editor might want. And also, the problems editors run into when trying to edit performances - it helps me head that off at the pass a little.
A movie is a creative process from its conception, through its writing, to its execution, to the editing. I think with the best films there is some kind of contribution from one person all the way through that. The best films are made by people who write, direct, and edit, so there's continuity.
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."
With these Funny or Die videos, I do everything for them. I write them, act in them, and co-direct them with my buddy Brian McGinn, who I grew up with. We also edit them together. We're working on a small scale of Internet videos, but we're slowly trying to make them become a bigger thing.
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.
Many aspects of our screen-bound lives are bad for our social skills simply because we get accustomed to controlling the information that comes in, managing our relationships electronically, deleting stuff that doesn't interest us. We edit the world; we select from menus; we pick and choose; our social 'group' focuses on us and disintegrates without us. This makes it rather confusing for us when we step outdoors and discover that other people's behaviour can't be deleted with a simple one-stroke command or dragged to the trash icon.
One of the tropes of our videos is that they were very rhythmic with clipped edits.
The problem is when you write the album, you record all the instruments, you edit the whole thing and then you have to mix it. You start to get out of touch with the songs and it becomes math.
Don't look back until you've written an entire draft, just begin each day from the last sentence you wrote the preceeding day. This prevents those cringing feelings, and means that you have a substantial body of work before you get down to the real work which is all in . . . The edit.
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