Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting.
I am interested in all aspects of filmmaking, so I have an opinion on every aspect, so sound design, score, cinematography, editing - all that stuff I have experience doing myself, so I had a very strong idea of what I wanted, and I got, for the most part, people that were able to articulate that idea, which was nice.
'The New Yorker' was really my first experience with serious editing. Previously, I'd more or less just had copyediting with a few suggestions - not much.
I love to tell stories, but the making is less comfortable. I like to be private, and being in the middle of a film crew with the least amount of privacy is the discomfort of shooting a movie. For me, the editing is the great moment when I can bring back ideas and realize the movie for the last time before I hand it to the audience.
I took courses at USC in film editing and art direction and photography when I was still in high school.
Writers are in control of editing processes - making a sentence better, cutting out a paragraph. But the initial outpouring has very little to do with conscious control or manipulation.
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.
Amanda Hocking and Hugh Howey have been successful in their self-publishing ventures. But notice that Hocking would prefer to write and hand over the editing, promotion, and selling to a traditional publisher.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called 'Film Culture.'
When you are editing, the final master is Aristotle and his poetics. You might have a terrific episode, but if people are falling out because there are just too many elements in it, you have to begin to get rid of things.
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.
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.
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.
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.
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.
That's the thing about making a movie: You never finish editing. They just take it away from you.
When you are writing and directing and producing, there is a lot of stuff to do. I like to finish one; then while I am editing, I will think of the next one.
Newspapers and magazines have been valuable to us precisely because they apply filters to information, otherwise known as editing, and often the Internet seems valuable for exactly the opposite reason: You can get your news without a filter.
There is anxiety, but it comes after you've finished filming because it's out of your hands; people are editing it, they're cutting it, marketing it. And it's... part your career sort of rides on that. But when you're actually filming it's a team thing and it really feels good there for me.
Filmmaking is a very complex form - ya know, acting, lighting, screenwriting, storytelling, music, editing - all these things have to come together.
Since I was a child, I've liked telling stories. Maybe because my father's a director, I grew up loving stories. I'm not good at spinning them at a dinner table because I do go on a bit, but I love writing them, and directing is just a way of editing the story.
The greatest films ever made in our history were cut on film, and I'm tenaciously hanging on to the process. I just love going into an editing room and smelling the photochemistry and seeing my editor wearing mini-strands of film around his neck.
I'm so independent in writing stuff and controlling what I do. Sometimes I get calls from people asking to be in their movie, but I'm always writing or editing, and I can never get around to doing it. I'm so much more interested in my own stuff. I think I drive my agent crazy.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
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.
Editing is the same as quarrelling with writers - same thing exactly.
I think a man turns into a writer by editing his own texts.
Of course, to publish something, you have to write it, polish it, then hire out the line editing, copy editing and cover design. After which, you pick your way through the minefield of conforming to the differing requirements of Amazon, Barnes & Noble and Smashwords, or hire someone to do it for you.
If you're working on a computer and you're editing bass, it looks like a warm curvy, sort of feminine object.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
A harsh reality of newspaper editing is that the deadlines don't allow for the polish that you expect in books or even magazines.
But I suppose film is distinctive because of its nature, of its being able to cut through time with editing.
I've puzzled over the difficulty that students have with editing, and I think I've identified its source: It's their self-talk. We all talk to ourselves, inside our heads. That's what consciousness is.
Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing.
I wrote 'All is Lost' while editing 'Margin Call'. I did that long before I knew if I was ever going to get to make another movie.
For film at the beginning of the 20th century, they didn't even know what editing was yet. Actors didn't know how to perform in front of the camera. There wasn't sound.