Any editing, software work, and mail is done in this exported Plan 9.
I re-mastered 'The Conversation' a few years ago for DVD. '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. Truth be told, I couldn't.
I get up to write while it's still dark, 5 or 5:30. I start by editing and rewriting everything I did the day before, and that gives some momentum for the day.
Our job as friends, mentors, parents, and writing coaches is not to write anyone's college essay. That's cheating. Plus, it sends a discouraging message to the teenager that he or she can't be trusted with this important assignment. Trust the student to write the essay, but verify that it gets done. Gentle editing and proofreading are allowed.
The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.
You never really know as an actor; it's completely out of your control, in terms of editing, and music, and film stock, shot selection, and what takes they use.
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
I came from the school of cinema verite documentaries, which was: Do not manipulate reality as it was happening but create a narrative in the editing room.
I worked at all kinds of jobs, mostly commercial editing.
The main thing that I learned from editing is that most people, when they're making a film, they start too early into the story. They will try to set up the characters, they will try to establish things before the plot actually starts.
Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.
In late 1999, I was walking down Ventura Boulevard in Sherman Oaks with my late producing partner Sharyn Lane after a day of editing 'Sordid Lives.' We passed the Psychic Book Store and decided to go in and get a reading. We weren't believers, but what the hell? We needed a sign.
You can't act for the editing. You have to leave that to him. So you just go in and do the scene the way you think is right or whatever you're directed to do, and leave the rest of that technical stuff up to the director.
All you're trying to do in an improvisation is get as much material as possible for the editing room.
It's good to get away from the editing suite. It's very unhealthy to be sitting in front of the screen for too long.
Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer.
I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command.
I don't like fast editing.
You never know what you do that could be totally out of left field, which actually might work and give something fresh to the whole scene, to the character, whatever. If you have that with a director who then knows how to shape it, either in the direction, in the moment, or in the editing, then that's good.
Songwriting is like editing. You write down all this stuff - all this bad, stupid stuff - and then you have to get rid of everything except the very best.
This applies to many film jobs, not just editing: half the job is doing the job, and the other half is finding ways to get along with people and tuning yourself in to the delicacy of the situation.
So if we're going to build new applications that require a large time investment, like say movie editing - today that doesn't matter for the enterprise desktop, but eventually it will when we get closer to consumers - you really need to have a cross-platform story.
If any sort of error is inexcusable, it's an incorrect phone number. One of the cardinal rules of copy editing is that every phone number published must be checked.
I personally think a fight scene is the most cinematic thing you can witness because all the elements of filmmaking come together, you know, with the camera speed changes, editing, make up effects and general smoke and mirrors of trying to make it look like you are hitting someone when you're not. It's filmmaking in it's purest form, I think.
The film's dramatic requirements should always take precedence over the mere aesthetics of editing.
People will like to say that 'Eastern Promises' is brutal, but the only reason they say that is because the scenes stick with them. They are realistic. They are in-your-face and you see the consequences. It's not a bunch of quick editing cuts.
When I left high school, my dad was directing a film, and I went to work for him as a P.A. There were two wonderful editors, Bud Isaacs and Bernie Balmuth, working on the project, and every chance I had, I would go to the editing room to watch and learn from them.
When I am shooting, I am inside the theatre, when I am in the editing room, I am inside the theatre. I always try to feel what they will feel. I see a film, not as a director, but as the audience. If I am entertained, they will be, too.
Most artists are going into the studio for a fixed period of time, and they say that's their album. I can't relate, because I've never made music in that way. I come from a culture of editing and remixing.
I started in documentaries. I started alone with a camera. Alone. Totally alone. Shooting, editing short documentaries for a French-Canadian part of CBC. So to deal with the camera alone, to approach reality alone, meant so much. I made a few dozen small documentaries, and that was the birth of a way to approach reality with a camera.
The process of editing is what I enjoy most - putting the pieces together and making sense out of them.
My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.
Editing is more by-the-hip. You look at a text and ask yourself how it can be improved.
Teen problem novels? I can go through them like a box of chocolates. And there are fantasy books out now that need a lot more editing. Fantasy got to be so popular that people began to think 'We don't need to be as diligent with the razor blade,' but they do.
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
I had worked for a lot of directors whose work I didn't respect, and as I was editing material, I was thinking about how I would have shot the scenes and what I would have done to make the scenes better. After several years of that, I got to the point that I was pretty confident I could sit in the director's chair.
