Top 151 Edit Quotes

I really like the idea of being utilitarian. My dream is to edit down my wardrobe and be very Japanese, where you have one rolling rack and it’s like your four T-shirts, your five dresses, your two pairs of jeans.

Docs, in general, are made in the edit bay, archival docs even more so.

Perhaps, despite my objections, the success of films like: ‘The Help,’ ‘Django,’ ‘The Butler,’ or ’12 Years a Slave,’ will further persuade Hollywood to widen its view and edit its erroneous perception of what a commercial black film can look like.

When you work on something in an edit room with just a couple of other people, you never know how it is going to be received.

You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don’t think that’s it.

When we started doing sketch comedy – actually in ’91 in Chicago – making your own videos, which we did, took forever. It would take like, a year to make one video. It was just so difficult to edit and just do everything you had to do.

The text illustrates the pictures – it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it’s easier to edit words – I use text as grout in between the tiles of the pictures.

I shoot my big mouth off; it just pops up! I have to learn to edit myself.

You have a schedule that you really have to stick to with TV and make sure that you are producing enough film for the network to edit through and air quickly.

There needs to be an app that edits what I say versus what I want to say.

When you finish a record, I look at it like a photograph. It’s already taken. You got it the way you wanted it to be. You edit it, make sure the light and contrast are right, then you just put it away, and that’s your photograph. Then you don’t really think about it anymore.

I think I’m able to do so much because writing is what I love to do. So, often when I have free time, I choose to write and edit.

You can’t edit yesterday’s paper.

First, I’m trying to edit down about 7 hours of material which I made prior to the Cop days and find some way to get it out. This stuff is pretty out there, mostly sonic collages and tape manipulations.

It took me a year just to edit ‘Shotgun Stories.’ Actually, it took me two years to edit ‘Shotgun Stories.’

With VR, you are directing in a 360-degree environment. The biggest challenge is that the viewer can look anywhere. They might look at the the weakest moments, the very things you edit for TV. You don’t control where they look.

Anything can happen in SF. And the fact that nothing ever does happen in SF is only due to the poverty of our imaginations, we who write it or edit it or read it. But SF can in principle deal with anything.

Because everyone in the world has the power to edit, Wikipedia has long been plagued by the so-called edit war. This is like a house where the husband wants it warm and the wife wants it cool and they sneak back and forth adjusting the thermostat at cross purposes.

I’m from Boston, and I get easily overwhelmed in New York, so I go to Boston and stay with my parents for a few months at a time to write, or edit, or just to cry.

The very first thing I ever did, I was doing some work for the French Cultural Center. They wanted a little recording set up. And I got wire. A wire recorder. The wire came off spools, and to cut and edit, you tied it together in little square knots. Can you imagine?

I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can’t. My attitude is always ‘let it keep rolling.’

I like files. I like editing a CSS file without necessarily having to edit an HTML file. I like fixing a problem by replacing a corrupted file with a clean one. Maybe I’m set in my ways, but I don’t consider it a hardship to open a folder or replace a file.

Write when drunk. Edit when sober. Marketing is the hangover.

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’m in awe of directors like the Coen brothers who can shoot their script and edit it, and that’s the movie. They’re not discovering the movie in postproduction. They’re editing the script they shot.

I cannot state enough how important post-production is for the success of a horror movie. You bring so much to it with the way you edit it, the way it is sound-designed, and the way the music works with it.

As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.

I edit things down, and I’ve got a massive dressing room in the country, and so all the things I’m not going to wear but don’t want to get rid of go there. And all the stuff I want to get rid of goes to Oxfam.

I found a vlogger named William Sledd who talked about his life – it was very minimal edits. It was one of those things where I discovered him, and I was like, ‘Oh my God, I’m obsessed with him.’ I felt like I was friends with him. And he was a huge inspiration for why I made my first video.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

Stand-up is still my job. That is the thing I wanted to get into when I was 21. You cannot beat the immediacy of it, making people laugh without any interruptions or edits.

Don’t edit yourself too much. Don’t be afraid of looking stupid, ‘cool’ is so rarely funny I think. And just do it! Do as many gigs as you possibly can, and watch as many gigs as you possibly can. You’ll get the rhythm of it in your head and make lovely friends.

On YouTube, we were our own masters. We could sit on an edit until we got it right, we could choose quality over quantity.

I write and write and write, and then I edit it down to the parts that I think are amusing, or that help the storyline, or I’ll write a notebook full of ideas of anecdotes or story points, and then I’ll try and arrange them in a way that they would tell a semi-cohesive story.

In an interview, I lose control even of what I am, for it is the interviewer who edits me, finally, into what he thinks I am, and never have I been happy with someone else’s version of my life after that person has spent an entire two or three hours fathoming it.

With my YouTube videos, I used to edit a lot of my own videos, so I’ve gotten used to seeing myself on camera.

I come from theatre, and I feel like I have to go back to it every few years because it’s like nourishment for the soul. And, as an actor, it’s the place you have most control: no one cuts or edits you, and you get to tell the story each night.

When I first started, there really was no beauty guru community. I didn’t have the right production resources. I had to learn how to edit. I didn’t even have beauty products. I had to go out and buy them myself because beauty brands didn’t even know what a beauty guru was.

Edits are very important to me – they’re the way in which I work on everything.

I never edit the songs that come out. And they tend to come out as a whole. The closest thing I have ever done to editing them is just cutting out a verse, but never rewriting lyrics.

I edit as I write. I revise endlessly. I don’t go forward until I know that what I’ve written is as good as I can make it.

My personal feeling is that ultra-high frame rates and ultra-vivid giant screen movies can be like a window onto reality. And if you recognize it as such, you can write your screenplay, direct your movie, edit it, and present it as a live experience – not like a movie.

I only like doing live telly. It’s great because you go in and do it and then go home. No edit, no retakes.

The thing to keep in mind is that’s how I started long before MTV and Twitter and Facebook. I studied at broadcasting school so I could learn how to shoot and edit videos, and tried to create my own television show so we could see through these wacky visions we had of funny bits we wanted to shoot.

After I finish any film, I move to the next one. It takes about a year to write and another six months are for pre-production and other things. You need a minimum of two-and-a-half months for the shooting of a new film. Then, I also edit my own film.

Showrunning is when you’re the constant creative voice in the show. For a year-and-a-half, you are working on the scripts, you’re fine-tuning them, you’re the final say on the edit, the music and the cast.

I don’t fiddle or edit or change while I’m going through that first draft.

I believe every editor should stand to edit. That’s just my particular soapbox. Some things are so delicate and depend on such fine, delicate work. One frame in one direction or another can make such a difference and it is, in that, like brain surgery.

Those who want to be serious photographers, you’re really going to have to edit your work. You’re going to have to understand what you’re doing. You’re going to have to not just shoot, shoot, shoot. To stop and look at your work is the most important thing you can do.