They’re pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren’t willing to portray. But the writers and the network are pretty much on the same page.
When my boys were little, I’d throw so many toys at them, but they didn’t want to play with any. Then I’d give them a truck, and they would play for hours. I believe the same thing applies to a consumer – edit their choices, and they will be more intrigued.
There’s something about taking a film from concept to script, through production, and then to see the final thing happening in the edit phase. It’s almost like a miracle in the making.
The important thing is to write when your brain is at its best. Work edits or do outside reading with the rest of the day.
Later, in the afternoon, I read what I did that morning. It’s almost always a surprise. But I can read it rationally; edit, polish, re-write, and think what I might do tomorrow in the early darkness.
Kabir sir is an extremely planned director. He knows how his film is going to look like and knows exactly what edits are to be made in the film. Thus, it helps the actor a lot when they work with somebody who is so planned.
I would make hockey movies: I would edit together Flyers games and do highlight reels of goals or fights, which I still have to this day.
If you sign up for TV, expect the edit to make things interesting.
Computers absolutely changed my life. Before I had a computer, I had never written one thing. Not one thing. I’m a very bad speller and I was embarrassed by that. When I would type, the little mistakes would make me nutty, and I would never edit anything.
As soon as you’re finished shooting, you have to go into the edit room and choose all of the shots that you’re going to commit to because the visual effects vendor has to get it because they’ll spend months on it. So, you’re editing out of sequence before you’ve gotten a film for the movie and the performances.
We can’t edit people’s content. We have to give them a platform to express themselves, and if they say something that the government doesn’t like, we can’t go delete it. We can’t give the guy’s IP address to the government.
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.
We are still vulnerable to gender-targeted marketing no matter how carefully we edit our children’s bookshelves.
I decided to do advertising, as ad films were made in only 10 days, and started assisting Sanjeev Sharma and Mansoor Khan. Surprisingly, I was a whiz kid and soon learnt to edit films and became an expert at it.
What good is making a jewel if nobody see it? But cost depends on the story. To get those performances in ‘Biutiful,’ you need that time. You need 60 takes in a scene and a year to edit. It’s not realistic to do it any other way.
And the most important thing you can do is learn to edit yourself. And then go back and rewrite.
I feel sorry for people who have to edit me. Which is why book writing is by far the most enjoyable. Really the only thing it’s based on is whether it’s good or not. No book editor, in my experience, is getting a manuscript and try to rewrite it.
Eight years ago, if I wanted to do a YouTube video, I broke out my camera and filmed everything myself and learned how to edit and kind of become a one-woman studio. But we’re living in an era now, thanks to ICON, where any creator who is online, they can create in their own space.
A few performances have been left out of the various Woodstock soundtracks and film edits over the years, most notably The Grateful Dead.
I write a chapter, then edit it and edit it and edit it and edit it. I don’t think we mine creativity from within. It’s bestowed from on high, from God.
I really have to edit myself – I need someone with a censor button around me all the time. I’m just a little unaware of what’s deemed appropriate.
Specifically, my favorite tool in Java is hot code swapping in debug mode, meaning I can edit the code while the game is running and immediately see the results in the running game. This is super great for rapid tweaking.
There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.
I edit as I write and shoot. Any extra line, any pause that I know will get chopped on the editing table is done away with then and there.
I’m too diplomatic. I tend to edit my mind before I speak – it can be incredibly draining.
We have a full writers’ room, and with something like ‘MyMusic,’ we’ve scripted it out with professional writers. There is some very basic improv from the actors, but everything is very to the letter, so it’s easy to edit down to an episode. There are fun little things an actor might throw in there.
I don’t type on the computer or edit. Law students who went to law school really just a couple years after I did were brought up all on the computers and that’s how they do it, but I was still part of the older school.
I shoot a scene, edit it, and then, two days later, I doubt whether or not it has turned out right. I reshoot a small part of it, go back to the first edit of it, and do all sorts of things.
The only advice I can give is to surround yourself with people who are friends and people who believe in you and your material and who are going to help you take it to the next level. It doesn’t mean you don’t listen to criticism, but you listen to it and edit it, and you figure out what you can take.
When you’re in a friend circle, you all kind of talk the same way. And it’s hard to do on-the-fly radio edits of yourself.
I love improvisation. I mean, it’s hard to edit, because things don’t necessarily fall together – you have to find ways to give it a dramatic scope, shape. But it’s so much fun.
I think it’s good to not edit your life too much, or you give people different standards.
Sometimes when an actor says something almost perfect, but you know you have to edit it, if you tell them to change something immediately, it will come out great.
The storytelling in a movie is in the cut; it’s in the edit. It’s not an actor’s job, really. Your job is such a tiny little thing, and I love the feeling of juggling or tightrope walking.
You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.
I tend to edit some as I go – partly because one of the reasons I don’t outline much is that I don’t know what the next scene will be until I’ve actually written the previous scene.
Life only has narrative when we frame it and edit it and call it certain things.
When you make a 3-D movie you actually have to plan the way the visuals look because there’s a parallax issue, and there’s an issue of editing; you can’t edit very quickly in 3-D because the eye won’t adjust fast enough for it.
The trouble is, the older you get, it’s hard to find time to make a film: it’s a year to write, a year to get money, a year to make it, a year to edit. It’s four years of your life.
I love the idea of leaving some of the original abstract thought in, because the problem is that when you pick up a pen you become a snob, your own worse critic. You edit yourself in a way that is non-creative.
To edit someone from your life must be a properly evaluated decision. After all, the act of distancing yourself is difficult and, if executed improperly, could prove even more troublesome than if you were to have done nothing at all. The key is to create the distance gradually – a ‘fade out’ as I like to call it.
I haven’t done any major filming with a major production company yet, but I’ve definitely done a lot of filming with a lot of professionals, filmers, and film little edits and put them up online. But I would definitely say that slope style skiers are entertainers as much as they are athletes.
In film school, you get skills, but then you get lackey jobs, working on projects that you probably don’t care about. And there’s something in me where I just couldn’t bring myself to edit some misogynistic rom-com or movies that I would have hated to be a part of. So I knew I just wouldn’t get any work because of that.
Miranda is extremely tacky. I personally want to edit my videos well, but I have to keep Miranda’s character in mind, so there are bad angles, flashy cuts, and sparkles everywhere.
When I was a kid, I used to make skateboarding videos, and I would pretend to be in a band and make rock videos that I’d edit with two VCRs.
When I’m in full-on writing mode and have the day, I try to get in my office around 10 A.M. and stop once ‘Judge Judy’ comes on at 4, when I quit and come down. Sometimes, I leave her on while I edit – if she can make the tough calls, then so can I.
To have an edit with ASOS – I just love ASOS – every piece is wicked, and I love how versatile it is.
In my experience, with very few exceptions – I am, as it happens, one of the exceptions – the one thing that most editors don’t want to do is edit. It’s not nearly as conducive to a successful career as having lunch out with important agents or going to meetings where you get noticed.
