The friends I knew who tutored were well paid for work that seemed far less grueling than waitressing or late-night newspaper copy editing or all the other side gigs I attempted in my early twenties.
I got to spend all of my time every day at work reading and editing papers about cutting-edge technical research and getting paid for it. Then I'd go home at night and turn what I learned into science fiction stories.
And after you've done the acting, there's a lot of places you can put your input - in the editing, in the production of it, in the rewriting of it and so on.
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 confess that Roy was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.
I'm just attracted to the action element of science fiction. It's great to sit in the editing room with the director and sound engineers and to create the feeling where your heart is racing and you're sitting at the edge of your seat and you find yourself holding your breath.
Film editing is now something almost everyone can do at a simple level and enjoy it, but to take it to a higher level requires the same dedication and persistence that any art form does.
When I say 'publishing is the new literacy,' I don't mean there's no role for curation, for improving material, for editing material, for fact-checking material. I mean literally, the act of putting something out in public used to be reserved in the same way.
Everything else - music, cinematography, costumes, design, acting - can be judged at face value. But when you're looking at editing, you don't know what the totality of the material was, and you don't know the working dynamic between a director and an editor - whether the editor was micromanaged or given free rein. It's very difficult.
David and I got cut out the editing process on that. We were able to affect it more than not. We sent in our notes, we were able to see cuts. We weren't allowed to see dailies and we weren't allowed to sit in the editing room and just work.
There are editing procedures for talks just as there are editing procedures in jazz improvisation.
I feel that working with the camera and editing it is actually my strong suit.
For a long time, I can't say I was one who really enjoyed acting. I was always censoring it, or editing it, or analyzing it, rather than just going with it.
Dolce & Gabbana is like our child. The editing of a collection before a show is a tough call, as we would like to show everything!
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
Editing is such a voyeuristic treat for me. I land on a theme and ask authors to pen works that fit the topic.
I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.
You can't act for the editing. You just go in and do the scene the way you think is right.
'Under the Skin' is handsome, in a dour way, but inert - a cunning experiment that died in the shooting or on the editing table. You'll want to get the DVD, though, and not just for its study of Scarlett. Odds are that the Making-Of documentary will be far stranger and more fascinating than the movie that was made.
I'm a student. I want to do better, and I want directors who can find the actress in me and be my teachers. I'm interested in the whole process of editing, post-production and direction.
When you're editing, you want to be the perfect appreciator, not another writer.
I did an audiobook for 'Rough Crossings,' which I thought was one of the best books I had published. But it was an absolute embarrassment to read it. All these horrible mucked-up bits of syntax, over-the-top adjectives. I found myself editing it while reading. Alert listeners will notice the difference.
I don't know why my lines that were cut from the film didn't make it onto the DVD. I have offered to go into the editing room with Christopher and work shoulder to shoulder with him to fit all my lines in. I think he thinks I'm kidding. I'm only trying to help.
The lessons of slushing and editing build up over time, and you're not necessarily thinking about them while you're working, but they're in the back of your mind, probably influencing your choices.
I no longer do a film for the wrong reasons. I have to be convinced ethically and morally. Both the director and I have to be on the same page. There are just five songs in most films these days, and they have to be amazing. There has to be a twist in the screenplay. The editing has to be crisp. Your hard work should show, but effortlessly.
I have an adult emotional life and an editing system inside me which prevents me from being preposterously stupid.
We are the products of editing, rather than of authorship.
I just ended up focusing on film editing as I was getting my career started. I'm very passionate about editing and will continue to edit for the rest of my career, but it's not like that was all I did and then somehow I grew into directing a movie.
I was editing Canadian Literature. I didn't want to let Canadian Literature go, so they reached a nice compromise by which I received half a professor's salary.
I don't do any research. It's all about gut. Editing - it's always about gut.
I don't think anyone is ever writing so that you can throw it away. You're always writing it to be something. Later, you decide whether it'll ever see the light of day. But at the moment of its writing, it's always meant to be something. So, to me, there's no practicing; there's only editing and publishing or not publishing.
I wrote my first book when I was 15 years old. And my second book '1,2,3 Publish Me!' shows everyone how writing a book is done in just the three secret editing levels I discovered!
A lot of directors prefer the solitude of the editing process, but I revel in the craziness of what a film set is.
Music is where I have the most creative freedom, but I love producing. To me, that's kind of where all the action is. You get a chance to have your hands in every aspect of a film. From picking a director, sometimes picking a writer, to the actors, the wardrobe, set design, editing, music, and marketing.
I'm attracted to directors in general because I appreciate the work and the job they have to do. I watched the post-production, I watched the pre-production... post-production is something that I'm very interested in and I did spend a lot of time in editing rooms when I was young pretending to be sick.
I don't know - I haven't seen any of my movies after I finish them. I leave the editing room; I don't go back.
