Top 225 Editing Quotes

Veteran’ is an exercise in editing because there is a lot of moments I took out and some that almost didn’t make it.

Part of the pleasure of editing ‘Vogue,’ one that lies in a long tradition of this magazine, is being able to feature those who define the culture at any given moment, who stir things up, whose presence in the world shapes the way it looks and influences the way we see it.

You can’t act for the editing. You just go in and do the scene the way you think is right.

I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don’t know how to light it. And I realize it’s because I didn’t grow up with light. I grew up in tenements.

I started making raps in 2014, recording stuff from my iPhone and putting them together in Sony Vegas, which is a video editing program.

Editing is such a voyeuristic treat for me. I land on a theme and ask authors to pen works that fit the topic.

When you’re in the editing room, the dangerous thing is that it becomes like telling a joke again and again and again. Eventually, the joke starts to not be funny. So you have to be careful that you’re not throwing the baby out with the bath water.

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 like the idea of the documentary as a portrait. There’s not a chronological beginning, middle, and end structure. You build something in the editing room that’s shaped by getting to know the person and digging deeper, unpeeling the layers of them as you get to know them.

I always believe that editing is the kind of thing where you want to cut into a scene a little bit after it starts and get out before it ends.

I love watching action films, and especially the little moments of wit and humor in the choreography in a lot of them. The editing of an action sequence often has great moments of comic timing.

If you re-read your work, you can find on re-reading a great deal of repetition can be avoided by re-reading and editing.

My forte is editing and I am most experienced in that. I love the challenge of playing with material and imagination while editing.

Editing cannot be taught. Developing your own taste cannot be taught.

I go through periods, usually when I’m editing and shooting, of seeing only old films.

I moved to New York City when I was 20 years old, started making movies non-stop. I didn’t have any friends, so I would just sit at home all night editing on my iMac.

Many years ago, I had the pleasure of editing a book by Joan Crawford, who, like Norma Desmond, was still a big star; it was just the movies that had gotten smaller.

I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.

What helps change bad writing into mediocre writing is editing. Editing is in bad shape in print journalism, and is in virtually nonexistent shape in online journalism.

I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called ‘Film Culture.’

You know, I do music. If you look under the hood of the industry I’m in, it’s all based on technology. From radio to phonographs to CDs, it’s all technology. Microphones, reel-to-reels, cameras, editing, chips, it’s all technology.

Once you sign on as an actor, you know, you don’t go to the editing room, you don’t see how they cut, you don’t see how they score, you don’t see how they cast the rest of the movie.

I’m not a writer, but I’m very good at editing. That’s my specialty. I can read something and tell you everything that’s wrong with it and what’s great about it and what needs to change, but it’s hard for me to organize my thoughts.

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

I don’t like to do any editing on guitars. I think the more editing you do, it just takes away from the feel of the performance.

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.

You have to find the movie in the editing room, and it can’t be four hours; it has to be two hours.

If any sort of error is inexcusable, it’s an incorrect phone number. One of the cardinal rules of copy editing is that every phone number published must be checked.

It’s so easy to make albums with overdubbing and editing these days, but I really prefer playing live and just getting the music to sound right because the musicians, the songs and the performances are good.

A lot of the music editing job is communication and working out what a director really wants the music to be.

I don’t like camera trickery and editing and doubles and all of that.

None of my kids want to be actors. They are actually very interested in being musicians. I think they like the process of film from the outside. Mad is interested in editing. Pax loves music and deejaying.

The greatest thing that prepared me for editing ‘Vanity Fair’ was having four kids because you just learn to subjugate your ego with the greater interest in mind.

The excitement of wading into ‘reality’ and just finding out what happens – and then the challenge of selecting those things that happened and shaping them in the editing into a narrative that will have appeal and be engaging – is a great, great thrill.

I stayed at ‘Cosmo’ well beyond my internship, moving up the ranks over some 15 years to become books editor, then brand director, then editor-at-large – editing everything from an excerpt of Gore Vidal’s memoir to writing some of those juicy cover lines myself.

I realized – and I am probably the last person in the world to realize this – that we live our lives with no editing.

The problems I have with a flawed script are always revealed in the editing room.

Editing is kind of a solitary job.

I was the Playmate editor for ‘Playboy’ for two years. I produced two years’ worth of centerfolds. I did everything on that, from picking the girls to designing the sets to picking the wardrobe, coming up with themes, assigning the photographer, down to editing the photos and approving the retouching.

I grew up on Long Island, and from as early as I can remember, as far back as first grade, I had two real passions – one of them was putting on plays, and the other was journalism. I was directing plays and editing school papers from first grade on, all the way through college.

I learned to not separate writing, shooting, and editing, it’s all sort of one big mess of creative output.

Every time I take a photo, it goes into SnapSeed. Even if it’s just a price tag on something, it still goes into SnapSeed, and I start editing it. I’m not a photographer, so I need all the help I can get when it comes to make a picture look cool.

As an actor, I felt nervous only during the release of my film. When I became a director, the anxious moments started once the editing work began.

I enjoy roles that involve a task outside of my natural capabilities – for example, playing a number of musical instruments or sword fighting or cutting a suit. You have to look as though you can do it, without too much editing.

I have used the name Jambulingam while editing films such as ‘Super Troopers’ and ‘Puddle Cruiser.’ I like the look and sound of it.

Same thing with film, by the time you’ve finished shooting and you’ve really been into everything, you’ve touched up everything in the editing room. You’ve gone in there and taken little bits from everything.

Every time I sit down to write, I need to commit to a word count goal, otherwise I waste too much time editing and re-editing my previous work, staring dreamily off into space, pretending that I’m thinking profound, poetic thoughts when really I’m just thinking, ‘Look at me being a writer! I’m so happy I’m a writer!’

For an actor working in television or film, I think it’s important to understand how the medium works – how the camera and lenses work and how the sound and the editing works.

I work eight hours a day, but I’m not writing all that time. I’m thinking, editing, looking something up. Thinking is what I do a lot of.

I always said it was a privilege to end up on the television. It wasn’t my ambition; I fell into editing magazines and writing about cars, and then I ended up on the telly.

My stormtrooper suit would chip underneath the armpits and in between the thighs. So they had to do a lot of editing for my costume and shave some areas down.

I got started on YouTube when I was a freshman in college. I was a broadcast journalism major, and I already had a lot of experience with video editing and photography.

You start to think in terms of making an album that might be greater than the sum of its parts. It’s sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.