The editing of moving pictures is geared toward the single image. You'd have to edit things in new ways.
I'm so sick of my own music that I don't know if I can edit another video, which involves hundreds of hours of listening to your own song again and again and again. It becomes so grating after a while.
Writers get to stay with the piece. They don't just turn the script in and somebody else takes it over and goes out and produces it and edits it and all that stuff. We stay with the piece all the way through.
Human relationships are rich and they're messy and they're demanding. And we clean them up with technology. Texting, email, posting, all of these things let us present the self as we want to be. We get to edit, and that means we get to delete, and that means we get to retouch, the face, the voice, the flesh, the body -- not too little, not too much, just right.
Immortality,' said Crake, ' is a concept. If you take 'mortality' as being, not death, but the foreknowledge of it and the fear of it, then 'immortality' is the absence of such fear. Babies are immortal. Edit out the fear, and you'll be.
It's taken years for me to understand that dying doesn't end the story; it transforms it. Edits, rewrites, the blur, aand epiphany of one-way dialogue. Most of us wander in and out of one another's lives until not death, but distance, does us part-- time and space and heart's weariness are the blander executioners or human connection.
To write is human, to edit is divine.
You would assume that a filmmaker should know how to edit, but pretty much every filmmaker I've worked with doesn't know how to edit.
I spent a year and a half working for an art fair. I worked as a post-production assistant for a documentary film company for a while. Then I worked at the Apple store because I wanted a discount to be able to buy new gear to edit things while I was figuring out whether or not I wanted to go to film school. Those were the main things.
I'm preprogrammed emotionally and intellectually not to go down blind alleys. I don't waste the time. I automatically edit out whatever's impractical.
Yeah, we have a lot of cringey moments, but that's what makes it authentic. I think for it not to be cringey, me and Kate would have to go into the edit suite, but then it would look over produced. We see it at the same time as everyone else.
In writing scripts now, having made a film, I'm much more conscious of what it means to shoot and edit a movie, and that affects the writing.
There's another way to edit the sentence, which is to add a comma before the second 'which.' The survivor is struggling toward 'some resolution,' not a specific resolution that the mind may never find. The final clause is an appended thought, not a conclusion of the previous clause: 'Death ends a life, but it does not end a relationship, which struggles on in the survivor's mind toward some resolution, which it may never find.'
A good edit process turns rocks into diamonds, and every author should love that part as much as the creative phase. I do love it. It's a different side to writing. It's like the fine-tuning.
I've done movies in the past that have so many characters and I find it's very hard to follow all these stories. You end up not caring about any of the people and I thought that would be the case in this film, and you had these big speeches for each character, you know, it's like "God that's how you'll have to cut that down in order to paste it all", to edit the movie and my representatives could say "no, you really you ought to check it out.
...I can’t stop squirming. If fidgets were Wikipedia edits, I would have completely revamped the entry on guilt by now, and translated it into five new languages.
When I play myself, I want to be a slightly better person. It just agrees. Everything I play about myself is kind of true, but it's amplified. We all edit, don't we? If you're self-aware, you stop yourself - you know how to behave properly.
I'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves. Then you can edit or mess around with what they've come up with. But you have to allow the artist that space.
The only rule I have when writing is to try to tell the truth. That doesn't mean you can't exaggerate, edit, rewrite things to make them more dramatic. But emotional truth is what I look for in writing.
The way I write is this: I write about a thousand words a day, a little bit more. The next morning, I read those thousand words and cursorily edit that. Then I write the next thousand. I do that all the way to the end of the book and then I reread the book quite a few times, editing as go through.
I definitely have been known to be grossly insensitive in many different ways, you can ask the wife. To speak without a filter sometimes and not being able to edit myself with much sensitivity.
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