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.
I’ll still make movies for studios, but my editing process will be much further removed from the studio system. Because I don’t understand it. I don’t understand the whole testing-numbers thing. It is not how I want to make movies. So if that’s how they do it, then I don’t think I want to do it.
Certainly it’s very difficult to keep momentum going through a film which has as many characters as this does, and the piece took on a life of its own to try and shape it. That took all the time we had in editing.
There’s a great deal of mystery in film editing, and that’s because you’re not supposed to see a lot of it. You’re supposed to feel that a film has pace and rhythm and drama, but you’re not necessarily supposed to be worried about how that was accomplished.
Editing is really like plumbing a good deal of the time. You put two things together, and a current runs through it.
I think people are feeling more artistic and creative with something like Instagram that makes editing easy. That’s a good thing for sure.
I would have a problem directing a scene like most directors do, in that TV style. I would get bored, I don’t enjoy editing in the classic way.
I’m not a mother of children, but I’m a different type of mother where my approach to design is more in line with nature. It’s less about dictating and more about editing and listening and allowing something to grow. So I nourish and let the material express what it wants to be.
I knew nothing about editing when I met Mr. Scorsese… Through a series of weird events, I ended up at New York University, and there was Martin Scorsese, and he had some troubles with a film I was able to fix. That’s the only reason I became a filmmaker.
So, while I gave up the notions of publishing at that time, I never stopped editing and refining that book. A few years later, in 1987, I thought I had it ready to go out again.
I spend time editing and massaging each note. Then I start layering with different instruments, adding harmonies, counterpoint, and whatever the song calls for. Then I arrange it into a whole piece, and decide where I need to add live musicians. It takes a lot of time, but it is very satisfying once it is complete.
I usually just write a song and record it that day, and then that’s kind of it. I’m not very good at going back and editing and tinkering it. It’s pretty immediate.
We may have our own ideas in the writing and editing stages, but we work out those disagreements in a constructive way.
I remember walking into the editing room when I was a junior in college, and I watched the guy make cuts, and I didn’t know what the hell was going on. He was just putting these shots together and telling the story, and it was amazing.
Editing and post-production is so important with comedy.
I’m a writer first and a singer second. And then I started editing my own videos when I was 17, so it’s a process I’ve been doing since I was younger.
‘The Conversation’ was the first film I edited on a flatbed machine – a KEM editing machine. I’ve been using Final Cut or the AVID for 12 years now, so I was interested in looking at this film and seeing if I could tell if it had been edited the old way.
There’s editing, and scripts to read and edit, and casting, and all the elements of production that just sort of take up the normal downtime that you would have as an actor. So there’s not a lot of that for me.
Professional humorists and cartoonists have to go through a stage in which they have to kill their own internal editor just so they can get stuff out. So whether they believe it or not, they need me on the other end to do that editing for them.
I’m really happy to have the chance to talk about the editing process. It’s something that I think doesn’t get the weight it deserves, especially with the rise of self-publishing.
A lot can change in the editing room.
I started as a child, in this PBS series ‘Voyage of the Mimi,’ which led to driving down to New York for ‘Afterschool Special’ auditions, which led to moving to Los Angeles. I wanted to be an actor. But in L.A., I got into film technology, and I was building cheap editing systems and would edit my friend’s acting reels.
When you’re directing, you see your ideas. You see them created right in front of you on the monitor and the sound stage. You get that experience all over again when you get into the editing room and you start playing with it.
There are plenty of paths to becoming a writer, but I think the most reliable ones involve total commitment: writing for magazines and newspapers, teaching writing, editing books, representing authors.
With the advanced editing technologies, it’s not difficult to play double roles these days. It can be done easily.
I’m deleting all my editing apps I used to slim myself down and airbrush pics.
I made shorts films, learning the dos and don’ts. Most importantly, I’ve been editing all these short films. Nothing can teach you filmmaking like editing can.
What you write on the page has nothing to do with when you’re on set. When you’re on set, it has nothing to do with when you’re in the editing room. And when you’re in the editing room, it has nothing to do with the final movie. You just have to let it go.
The best moments can’t be preconceived. I’ve spent a lot of time in editing rooms, and a scene can be technically perfect, with perfect delivery and facial expression and timing, and you remember all your lines, and it is dead.
Your agent should be invested in the success of your book past the contract stage. After all, if it sells well, she’s going to be getting 15 percent of every dime you make. She can be your best advocate in fighting for your book – not just with editing and the cover, but with marketing and sales as well.
I’m a big fan of editing and keeping only the interesting bits in.
Making movies is hard for me. Being on set is very trying. I’m not good at being that communicative for that long. Editing is where I’m happiest.
I am not altogether confident of my ability to put my thoughts into words: My texts are usually better after an editor has hacked away at them, and I am used to both editing and being edited. Which is to say that I am not oversensitive in such matters.
Editing is a meditative process. I enjoy it the most. I am not dealing with 200 people.
I liked film-making, but the most difficult thing was the editing. I found it tormentingly difficult.
Writing one’s first novel, getting it sold, and shepherding it through the labyrinths of editing, production, marketing, journalism, and social media is an arduous and nerve-wracking process.
From its skillful editing to its out-of-control budget and its relentless marketing, Mr. Obama’s team played a different game at a different level than Sen. John McCain and his traditionalist staff.
I don’t think about the reader when I’m writing, but I do when I’m editing, of course. For instance, I self-consciously didn’t want to do anything to increase the divide between mothers and nonmothers – I think that divide is so horrible and destructive and unnecessary.
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.
Editing is simply the application of the common sense of any good reader. That’s why, to be an editor, you have to be a reader. It’s the number one qualification.
Everything’s always got to be character-based. We know we can’t, if we’re sitting in the editing room, watch the sequence for more than 20 seconds without a character having a point of view or moving the action forward; my brain just shuts down, or I start thinking about my laundry.
If I hadn’t met Scorsese, I would never have become a filmmaker. He has taught me everything I know about editing and has given me the best job in the world.
The bottom line is that your performance is made in the editing room.
Editing is a natural extension of the collage making. It’s actually one of the few areas that women were able to excel in in the film industry from the beginning.
In live-action, writing, production, and editing happen in discrete stages. In animation, they overlap – happening simultaneously. This allows a real dialogue to occur between the writer, the director, the actors, and the editor, and it makes the writing process a lot more collaborative and a lot less lonely.
I’ve worked on a set before, know something about cameras, and done some editing.
I haven’t watched ‘Half Baked’ in 17 years, since I was editing it. It’s like looking at an old picture where you have bad bangs or something.
Bling is passe, and I like my style to reflect just that. Ruthless editing defines true style perfectly.
I was writing, directing, and editing my own films as a young kid with my parents’ video camera.
I worked at all kinds of jobs, mostly commercial editing.
Each movie I make has its own heroes, and the two heroes for me in ‘Arrival’ are Amy Adams and Joe Walker, the editor. We worked very, very hard, and it was, by far, the longest editing process.
