Quotes About Editing

I enjoy editing when I'm directing, but when someone else is directing, that's their film to cut.

There's no such thing as a non-final cut director.

I don't believe in director's cuts where you make things longer. The coolest thing was when the Coen brothers did a director's cut of 'Blood Simple,' and they made it shorter.

I don't think enough directors know enough about editing.

A lot of comedy films, there's the opinion, 'Well, if it's funny, put it in.' But I think you have to be more disciplined than that.

As a very experienced writer once told me, 'It's in the rewrites'.

If you're not in the hands of an expert editor, you really can go wrong in a lot of different ways.

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. The exercise in theater is night after night, you are doing the same play, but you have another opportunity to explore.

Most actors hate readthroughs - they're exposing themselves before they're ready to, and before they've bonded. But I love them because they give us all the first inkling of what the whole show is going to be like, how each part affects every other part, and we won't see that again until it's all edited together.

Although Patterson Beams was not my first plug-in, I knew from the beginning that I would write it, because the single biggest time consuming factor for me was editing each beam manually.

I studied philosophy, religious studies, and English. My training was writing four full-length novels and hiring an editor to tear them apart. I had enough money to do that, and then rewriting and rewriting and rewriting.

When I've had to edit my albums, I'll listen to it one time through, and I'll make edits. I want to remember to set up a camera to record myself listening to my set, because I don't even slightly crack a smile, I am just listening for technical details, and I look like somebody that has absolutely no sense of humor. I look insane.

I got to spend all of my time every day at work reading and editing papers about cutting-edge technical research and getting paid for it. Then I'd go home at night and turn what I learned into science fiction stories.

I don't like re-writing very much. The fourth and the fifth draft - that's too much like work. There's not much inspiration about it, and the lawyerly side kicks in - being very careful and somewhat technical.

You can't act for the editing. You have to leave that to him. So you just go in and do the scene the way you think is right or whatever you're directed to do, and leave the rest of that technical stuff up to the director.

I think we were the first picture to cut on Final Cut Pro. So we were the guinea pigs, because we got a deal on the system. But with that comes all sorts of technological problems I couldn't begin to describe.

With the advanced editing technologies, it's not difficult to play double roles these days. It can be done easily.

With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.

Honestly, I've never had anybody with 'Teen Mom' ever be anything but great to me. Except the editors - they suck. Everybody from the crew, I love them, they're like family to me... I've never had a problem with any of them. Except the editors.

Teen problem novels? I can go through them like a box of chocolates. And there are fantasy books out now that need a lot more editing. Fantasy got to be so popular that people began to think 'We don't need to be as diligent with the razor blade,' but they do.

You would have to be naive to think you can appear on television and not have the material edited in some way.

When you crop the photo, you tell a lie.

When you write something, at first you might feel very defensive and protective of every single thing, but after a while, you just see what works and what doesn't. Sometimes you do test screenings, and an audience tells you that, or sometimes you eventually just go, 'Let's cut the joke out.'

Anyone who tells you they don't need to rewrite, they're usually the ones who need it worst.