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Cutting Quotes

“Stories set the inner life into motion, and this is particularly important where the inner life is frightened, wedged, or cornered. Story greases the hoists and pulleys, it causes adrenaline to surge, shows us the way out, down, or up, and for our trouble, cuts for us fine wide doors in previously blank walls, openings that lead to the dreamland, that lead to love and learning, that lead us back to our own real lives as knowing wildish women.”

“And we certainly don't have full conversations on cellphones. You know? Usually the reception is so bad, but it's only bad on your side. The person talking to you has no clue. They're just rambling on and on. You've got your finger jammed in your ear, you're shushing people on the streets. You're ducked behind a dumpster so you can hear about your friend's new hair cut. What about the bangs are they shorter?! Are the bangs shorter?! The bangs!”

“I kid the Republicans, with love. I feel bad for them. They got nobody for next time. Who are they gonna run? Sarah Palin, reading off her hand. Did you see that? You saw this? She wrote "tax cuts" on her hand. A Republican so stupid she has to be reminded of the one thing - Tax cuts! This is like if you saw the coyote's paw and it said "Road Runner".”

“Cameras are dangerous. With no waiting period or background check, any whack-job could just stroll into a Wal-Mart and walk out with a semi-automatic. Now, for years I've been pressing for stricter regulations on cameras, especially around our elected officials. Too many political lives have been cut short by some crazed shooter.”

“Young people today are flooded with disconnected images but lack a sympathetic instrument to analyze them as well as a historical frame of reference in which to situate them. I am reminded of an unnerving scene in Stanley Kubrick's epic film, 2001: A Space Odyssey, where an astronaut, his air hose cut by the master computer gone amok, spins helplessly off into space.”

“The Brick House was one of the toughest joints I ever played in ... Guys would drink and fight one another like circle saws. Bottles would come flying over the bandstand like crazy and there was lots of plain common shooting and cutting. But somehow all that jive didn't faze me at all. I was so happy to have some place to blow my horn.”

“In 1916, when Johnny Heartfield and I invented photomontage in my studio at the south end of the town at five o'clock one May morning, we had no idea of the immense possibilities, or of the thorny but successful career, that awaited the new invention. On a piece of cardboard we pasted a mishmash of advertisements for hernia belts, student song books and dog food, labels from schnaps and wine bottles, and photographs from picture papers, cut up at will in such a way as to say, in pictures, what would have been banned by the censors if we had said it in words.”

“While photography to Cartier-Bresson is constantly an intuitive process, it is never purely instinctive. It is founded on continuous intellection, on ceaseless consideration during all moments previous to, or preparatory for, the pressing. It does not only operate in the blinding flash of a moment seized; it works all the time. The snatched picture merely cuts across the vein of observable incident or accident which is always beating, whether or not the fingers actually press.”

“Some field days can be tough. I've worked inside fuel tanks with 3 foot ceilings, in -42 to +42 Celsius temperatures, in snow and smoke and hail, and I've dug through snow and ice and pavement to find legal evidence. I've worked clear through the night by headlamp, and I've flown in a rickety long-islander with propane tanks strapped into the other seats. I've jury-rigged missing equipment, broken into my own truck, and cut out an emergency helicopter pad with a machete. I've been hungry, cold, tired, lost, injured, and downright hopeless!”

“The dozens of people working on this at Digital Domain, they knew that you couldn't get away with almost photo real, because we had real real in the room. You have real real in the cut every four or five shots, so you have this constant yardstick built into the footage by virtue of there being no real robot there. So it became the standard of photo reality that the VFX team had to match.”

“Since I worked with Danny Boyle before on Slumdog Millionaire, we have great success and everything. So, when I first got the script and the screenplay of Simon (Beaufoy) and I was reading it, even before the shoot, some kind of sounds came into my mind and I put some stuff [down] and sent it to Danny when he was cutting the movie.”