Editing Quotes

When you're editing, you want to be the perfect appreciator, not another writer.

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.

With film, so much is in the director's hands. Once something is cut together - unless you're in the editing room - you don't really remember what the alternatives are.

Songwriting is like editing. You write down all this stuff - all this bad, stupid stuff - and then you have to get rid of everything except the very best.

Even Jack Kerouac, who famously said, "First thought, best thought," benefited from editing. His earliest works are the most edited, and they're the best of his writing.

You generally know when someone asks you to do something- am I more writing, or am I more editing? The editor is the best metaphor for your job.

Whenever I'm not shooting, I'm in the editing room with my footage. While the crew is taking 15 minutes to an hour to set up the next shot, I'm behind the Avid, putting the flick together.

I made a deal with myself that whenever I smoke weed, I have to be doing something productive: writing, recording, cutting a podcast, editing, etc.

One of my favorite apps is VSCO, which is for editing photos. I think they have great filters. And then I read the New York Times.

The editing process is a necessary evil. I can write until the cows come home but it is all garbage until it gets edited.

Because the Pang brothers are twins, they would rotate days on set. One of them would be editing, and one of them would be shooting.

Even a fiction film is hard to end. You can going on shooting and editing a documentary forever.

I tend to elongate the sentences as I'm writing and editing, and there is just something about the feeling of writing longhand that I really love.

Believe it or not, I even love the editing stage. It's something that apparently comes naturally to me.

After university, I got a job sub-editing and for years I was a literary editor.

I can't drag myself away from 'Final Cut Pro.' It is a digital video editing system. I am obsessed with it, but I am always away from home, and I can't use it.

My first cut was three hours and 17 minutes. And then I just became very shrewd about the editing.

My whole life is a movie. It's just that there are no dissolves. I have to live every agonizing moment of it. My life needs editing.

Believe it or not, I don't collaborate with women, though my agent and editor are both females. For the most part, they do little editing on my characters.

The one place I've seen something really come together is in editing. Sometimes you can save pieces in a way that you're really shocked.

When you're rereading or editing your book and you start to expect that this work is going to be reviewed, and you can sort of tell which line is going to show up in reviews.

You have to know what you're shooting. Don't just make your movie in the editing room and just get everything you can on the day.

Unfortunately, I am very aware of editing and I look at the monitor too much. Sometimes the monitor can become your worst enemy because you can, consciously or unconsciously, start editing yourself.

As for my style, for my vision of the cinema, editing is not simply one aspect; it's the aspect.

I'm more relaxed about how the editing process will create a performance and that, in a way, gives me a sense of freedom.

So much can be learned by any filmmaker by studying his work, in terms of blocking, staging, editing and sound.

[on editing of the films] There is always a question of time, and the director. I've worked with a lot of directors who don't mind my involvement. They appreciated it.

When you get back into the editing suite in the cold light of day, the written stuff is better.

Increasingly, editing means going to lunch. It means editing with a credit card, not with a pencil.

With a good editor you find yourself shaping as you talk and they will ask a couple of questions that open new things. Some are good at line editing too, but there's this other, less visible talent.

Artistry is important. Skill, hard work, rewriting, editing, and careful, careful craft: All of these are necessary. These are what separate the beginners from experienced artists.

In editing, it's amazing how you choose the in and out points. What you cut on is everything for creating tension. It's amazing how expanding a shot by five seconds can just ruin the tension.

When I'm editing, I try to bring out some dramatic structure. I think it is about theater in some way; it is a little play.

I really am a strong believer that with editing, it should take a long time. Even you yourself are not capable of making the right decisions; sometimes you need a distance.

I love editing, and I don't mind when things are edited and you can see the editing.

People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.

Because the filming process was so organic and there was no script, the film [Dream of Life] was literally telling us what it wanted to be in the editing room.

I would bring Patti [Smith ] in to the editing room [working on the Dream of Life] and say, "This is a great moment for a voiceover, or a poem," and then we'd bring in some sound design.

Angelo Corrao was our editor [in Dream of Life], and he was just so diligent and so old-school in the way he looked at editing. He would take my far-out ideas and tame them and make sense of them.

My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.

Editing is a very tough period. You're confronted with yourself. It's a deep, dark, truthful mirror.

When I watch the movie, which is I don't know how many times I've done now with editing and everything, I walk out giddy just because I feel like that's the movie that I want to see.

30 Rock is a little different from other current sitcoms, in that it's fast-paced, but the pace comes from the actors, not the editing.

Editing is not a part of the filmmaking process I've ever been privy to as an actress.

In a way, editing is not unlike the movies. The best books, just like the best movies, are a collaboration. They're only as good as the compromise made between the artists involved.

When I do a still picture, I'm doing it all by myself with no help. I'm designing everything. I am my own art director. I'm doing everything. I'm directing, editing, whatever.

By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.

Sometimes when you're editing a movie, you have the thing that you don't expect - which is you make it longer and longer as you go along.

I love producing. I am loving doing that. I think that is my most natural space in the business. I just love producing or editing and that's where I thrive.

There's no point in writing my kind of stuff, when they're printing that kind of stuff. So I gave up and started drinking.