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Editing Quotes

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Editing Quotes

“One of the first decisions I made, as the director of "Hide and Seek," was that our film would be silent and use underscoring of original music that I was planning on composing. The decision was mostly predicated on knowing how time consuming the editing of dialogue can be and given the various locations we shot in, I didn't want to worry about having to mix room tones in such a short amount of time.”

“I was always creatively stubborn, adverse to editing by others, and wanted to use the kind of Ukrainian we spoke among ourselves rather than the more artificial prescribed literary Ukrainian. The problem was the greatest in prose, where editors would change my language because "it sounded better this way." My poetry they left alone probably out of deference to that hallowed genre.”

“I have really been fortunate, incredibly privileged, to have done so much editorial work, and I would love to do more. But just as my editions have tried to balance the familiar with the new, the commercial with the scholarly, so too I have to admit that I don't want to do editing for the sake of it, and some possible projects would be of uncertain value to me.”

“It's like the query letter problem that I just mentioned, magnified a hundredfold. You might be good at telling a story, but that doesn't mean you know anything about marketing. Or layout. Or editing. Or publicity. Or selling your books for foreign markets.Everyone can point to a few examples of people that have done very well for themselves self-publishing. But honestly, those folks are lucky as lottery winners.”

“Not only do you need great lyrics, a great message, a great story, great vocals, great chords... you also need great instrumentation, great editing, great sonics, great mixing, and great mastering. It all comes together to make something truly great, and I think each element combines together to create a powerful impact on the consumer.”

“Ultimately your job as an actor is to perform however you're being asked to perform and there's many different procedures as an actor that you're going to run into that you should be prepared for and be ready to go to work and do the best you can and give the director the best thing you can to hopefully give him things on that day that could be shot preserved and out into a canned, then when they go into the editing room that's where a movie's made.”

“[ Digital revolution ] only has allowed me to work faster, editing digitally, which I'm doing right now, a film on volcanoes. I can edit almost as fast as I'm thinking, editing with celluloid means always searching for this little reel of film, and number it, and scribble on it with some sort of pens, and gluing it together, and working on a flatbed. It's much, much slower.”

“Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.”