You always end up with too many pictures to edit and too few that you feel 'got it'.
When you shoot, that is opportunity number one to make a statement. When you edit, you have opportunity number two to make your statement. It could be an affirmation of your first choice or could go off in another direction.
We made a great mistake in the beginning of our struggle, and I fear, in spite of all we can do, it will prove to be a fatal mistake. We appointed all our worst generals to command our armies, and all our best generals to edit the newspapers
One of the advantages of being dead, I guess, is that somebody else can edit all this.
Anyone who edits their own copy has a fool for an editor.
Copies have been dethroned; the economic model built on them is collapsing. In a regime of superabundant free copies, copies are no longer the basis of wealth. Now relationships, links, connections, and sharing are. Value has shifted away from a copy toward the many ways to recall, annotate, personalize, edit, authenticate, display, mark, transfer, and engage a work. Art is a conversation, not a patent office. The citation of sources belongs to the realms of journalism and scholarship, not art. Reality can’t be copyrighted.
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!
Although being economics editor sounds impressive, it does not mean I actually edit anything. It mainly reflects two decades of title-inflation at the BBC, which has given ever more status to senior reporters, presumably because it is cheaper to do that than to offer higher pay.
I learn something new every day - to edit, to take out all the extraneous matter and stress form, logic, and content. I try to play beautiful music.
I frequently counsel people who are getting frustrated about an edit war to think about someone who lives without clean drinking water, without any proper means of education, and how our work might someday help that person. It puts flamewars into some perspective, I think.
I like to be surrounded by books. My wife Evelyn has a PhD in comparative literature so we have a lot of her Spanish and German literature books which are wasted on me, plus a lot of novels and books on art and architecture shared by us both. Evelyn used to edit an art magazine called FMR, so we have a common interest in design.
You can shoot and edit a movie from your iPhone and upload it to YouTube. Of course, what's not universal is talent. Are you making anything that anyone really should see?
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.
I have friends, some of whom are spectacularly good writers, who really want someone to edit them. I don't register that impulse. It's like the impulse for wanting a dog.
And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.
A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.
TV and film taught me to think cinematically. Teaching others to edit, for example, provides a great deal of insight into the millions of ways in which given elements can be put together to tell a story.
There's editing, and scripts to read and edit, and casting, and all the elements of production that just sort of take up the normal downtime that you would have as an actor. So there's not a lot of that for me.
There tends to be this hierarchy of film and television, and theater is somewhere else in its own milieu. However, as actors, yes, we love to do theater because it's our story. Nobody can edit it, the curtain goes up, and it's ours for two hours or three, or whatever. And we tell it.
I pick up my guitar and play. Something might come, and then the pen comes out. Then an edit, until something comes out that you're actually satisfied with.
I'm too diplomatic. I tend to edit my mind before I speak - it can be incredibly draining.
A kid now can practically record a song or edit a short film on his way to school. I think that will produce, perhaps, more less-interesting things - or you'll have to search more to find the interesting things. But I also think it's exciting.
There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.
If I'm going to take my clothes off I figured I might as well do it for something that I'm directing myself since I had complete control of the edit.
I don't fiddle or edit or change while I'm going through that first draft.
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