I have every sympathy for writers. It’s a mystery to me what they do. I can edit. I can cross out and say, ‘I’m not saying that’ or, ‘How about we move this to here? Wouldn’t that make that bit of the story better?’ But where any of it comes from is beyond me. I will never write a play or a novel.
I love to simplify and edit the contents of just about anything, but women’s closets hold particular appeal to me. I edit mine about four times a year and hold a yearly ‘clothing swap’ to encourage my girlfriends to do the same.
I know the fans are very personable with my mom and things like that. They make little collages and pictures. They make edits of me and my mom together.
In the media age, everybody was famous for 15 minutes. In the Wikipedia age, everybody can be an expert in five minutes. Special bonus: You can edit your own entry to make yourself seem even smarter.
I guess what I’m trying to say is that writing is mysterious; you don’t ever truly know where it is coming from, so don’t edit yourself line by line. Don’t get in your own way. Whatever is truly there at the core, that is your voice.
I don’t edit information, I follow it.
You know how everyone – there’s this maxim that we all become our mother or we all become our parents. And, generally, I really wouldn’t mind becoming my mother. I really like her, so I wouldn’t mind becoming her. But I definitely need to edit her.
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.
I didn’t reinvent clothing; I reinvented the edit.
I just kept it real and had the freedom to do what I want. It’s not designed for any age group. It’s not made for radio. There are no edits. The whole album contains explicit lyrics but that’s because you need it.
People need to remember that people edit their pictures, they change the way they want to look.
I love producing. My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I’d like to build something to that effect.
I spill it out as fast as I can. I don’t really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.
Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.
I like to edit my sentences as I write them. I rearrange a sentence many times before moving on to the next one. For me, that editing process feels like a form of play, like a puzzle that needs solving, and it’s one of the most satisfying parts of writing.
I organize my closet by season, color, and silhouette, but I don’t edit often enough, which causes me to hoard Hermes cuffs in Hermes bags that are crammed into my living room because my closet is overflowing.
I can’t sit on my bum very long in a movie theater seat, and when I’m directing, I always want to move the camera or edit.
I’m homemade. I upload my videos in my living room; I edit everything, and I upload on my laptop. And my viewers love that about me, and they get inspired and do it themselves.
I think it’s almost impossible to edit something to death. I think you can make things better almost indefinitely.
It is important for poets and writers today to know their shortcomings, and be able to edit their own work as well as reject them if they are not up to their standards.
For action to work, you need an awful lot of coverage. Because if you do a fight sequence, you really need to be able to creed the energy in the edit or augment the energy in the edit. So you need to really, really cover it.
The first thing I do in the editing room is the ‘radio edit,’ where you listen to the dialogue and don’t even look at the visuals. The rhythm, the music of the comedy, has to work.
In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.
I am on Vine. It’s another early-adopter kind of thing. I’m trying to figure out what I’m going to do with it. What’s interesting about it is that everybody knows these amazing restrictions we’ve put on it: I have to use my iPhone, I can only use one continuous take, I cannot edit afterwards, I cannot put sound afterwards.
I took one film class at NYU over a summer and learned the basics – you know, how to load a camera and how to light and how to edit – and I became a film editor.
I know that many authors say editors don’t edit anymore, but that’s not been true in my experience.
That’s the purpose of creative stuff: when you really love what you do, you have to know at some point, or points, you’re not going to be good at it. That’s just the process of learning. I can edit it and try to be as perfect as I can, but I’m still going to have my vulnerable spots and my weaknesses.
I actually thought I wanted to be Thomas Wolfe, but I didn’t have the talent. So I thought I could edit Thomas Wolfe.
Instagram is my edit of my life.
In a way, Instagram is a space where I edit and show what I want to show. But at some point, I thought, ‘Am I really this person?’ People like my shiny look, but to me, I’m a much different person than her.
The thing with TV and filming is the timing is all faked anyway. You do it so many times, from so many different angles. You never really do it all in one go anyway, so they just fix it all in the edit.
I don’t want to be an editor! I don’t want to direct; I’d be a horrible director. I don’t want to write – I have a ‘story by’ credit on one film I did. And I don’t want to edit at all.
I’m lucky that I’m inside the fashion industry and see clothes from a different perspective than the traditional consumer. Being able to curate, edit, and style product to make my own look is a privilege, but something I think men are becoming more aware of how to do.
In TV, you are much more likely to see the episode closer to the script as written – in terms of the order of the scenes – than you would in a movie, and here’s why: you don’t have as many days to edit. You have 10 to 12 weeks or more to edit a feature, and you have four days to edit TV. That’s a huge difference.
I didn’t know what it was going to look like or how anything was going to turn out, but the production on ‘Teen Wolf’ is so amazing. The way that they shoot it, edit it, and put it out there, it’s really so exciting. I trust the team so much. They do such a good job.
I don’t like writing – it’s so difficult to say what you mean. It’s much easier to edit other people’s writing and help them say what they mean.
I don’t edit on laptops anymore.
TO preach a sermon or edit a newspaper were the two things in life which I always felt I could do with credit to myself and benefit to the world, if I only had the chance.
As a child actor, I had sung a song in the Bengali film ‘Bhagyadebata’ but it wasn’t kept in the final edit.
My mom did this really cool thing: when ‘Pulp Fiction’ came out on video, she made, like, a ‘mommy edit.’ She took two VCRs and dubbed ‘Pulp Fiction’ from one tape to the next and edited out all the parts she thought were unsuitable for a kid. It was basically, like, the opening and ending credits.
There are courses you can take to learn the mechanics of the business, like the Radcliffe course, but I don’t think they teach you how to edit.
I had never seen anyone edit the way that I edit before I did it, and it’s just what felt right to me.
So much of comedy happens between your chin and your shoulders. Nobody tells you when you get your own TV show that you’re going to watch yourself in the edit room over and over and over again. It’s a tough lesson.
We stitch together our days and edit out our nights.
I think it’s important for us not just to edit the culture that capitalism creates but to create the material basis for a culture that we want.
A lot of people in Nashville think that the best song is the catchiest or the one that sells the most copies. They’re editing songs in a way that make them seem more consumable, I guess. I’m trying to edit them in a way that makes them more honest.
There are people who do things in tech that have the same skill sets that journalists have. They write, they edit, they put out press releases.
I love to watch videos, and I’ve always liked to film and take pictures. I have an eye for really weird things that nobody thinks about. I used to make little movies about myself and then edit them on iMovie.
People try not to think about what’s going on in sub-Saharan Africa. They edit it out of their daily lives. Especially Americans. We prefer a fantasy version of Africa.
You have a diasporic black world, and the only way to put it back together again is symbolic. It’s like Humpty Dumpty. Whoever could edit the ‘Encyclopedia Africana’ would provide symbolic order to the fragments created over the past 500 years. That is a major contribution.
I realized in the early days I just didn’t edit at all. But I think you become a little more cagey with your lyrics when you know more people are going to hear them and make assumptions about you as a person. Realizing that, you want to be a little more opaque.
