One of the biggest differences between you and a traditionally published author is that a self-pubbed author is responsible for everything. Not just writing the book - but cover design, editing, producing, distribution, and publicity as well.
None of my kids want to be actors. They are actually very interested in being musicians. I think they like the process of film from the outside. Mad is interested in editing. Pax loves music and deejaying.
I like editing. Generally, you work under the assumption that everything can be shorter. I like to see if I can reconstruct a sentence. I find that enjoyable work.
I definitely in filmmaking more and more find writing and directing a means to harvest material for editing. It's all about editing.
I love being on stage if I'm not on a set. If I'm at home, I'm usually in my office editing or reconstructing my website or whatever it may be. I just love putting creativity into a performance, so if the right script comes along, and I certainly am reading comedies and dramas now, then I'm ready willing and able to give it a shot.
I was editing for Kunal Kapoor when I got my first film 'Jaan Tere Naam' as lead actor.
If you're not prepared, and you're not passionate, and you don't push yourself to a level of human exhaustion on every level, mentally and physically and creatively... I've seen directors who approach it casually, and they do somehow maintain better hours... but I could never be that guy. I am up and editing all night.
We kept my middle schooler home from school for three days before we turned in our final draft because she was so mean and so brutal at editing out all the cheesy bits. She would roll her eyes and make fun of us, and it was what we needed.
I've worked on a set before, know something about cameras, and done some editing.
I am not altogether confident of my ability to put my thoughts into words: My texts are usually better after an editor has hacked away at them, and I am used to both editing and being edited. Which is to say that I am not oversensitive in such matters.
I directed a short series for Hulu called 'Paloma,' and being in an editing room, I learned a lot about acting. It gave me a new bolt of energy in terms of my interest in filmmaking because it made me realize how collaborative filmmaking can be and also that you're not just limited to one job.
I don't think music affects what words I choose to type in what order, within what punctuation, at this point, because I'm rereading and editing each sentence, at this point, in my published books, probably 100-150 times each, on average, and listening to probably 20-60 different songs in that time.
Increasingly, editing means going to lunch. It means editing with a credit card, not with a pencil.
In my early teens, I knew I wanted to do television production. I loved cameras, editing and producing, anything that had to do with television production. My friend had a production studio across town, and we'd go over there at night and shoot and edit. I produced my father's televised service for 17 years.
What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.
While there are certainly food-focused content out there on the Web and on TV, most of this content need to weave through many layers of editing before it reaches the viewer.
When you're making the film, you don't really think the audience; it's only when you start editing that you really start to became aware of your audience because you're thinking of how you communicate these ideas, and how lucid can you be, and yet stay within the language you've established.
I am a part of the old school where I feel that purity of the language should be retained. But English is a constantly evolving language where new words are being added to the dictionary, so I don't see any harm in experimenting with the language. Only poor editing standards need to be improved.
When you're editing, you're putting it together in a way that makes sense metaphysically. You're not inventing it, but you're finding the story that's there. You're making a play that's eventually going to go on stage and present itself to an audience. You want to show what happened, not exactly what you have evidence of happening.
I prefer a change of surroundings anyway, and I like to be around some energy and white noise, so I usually go to a Barnes & Noble cafe or to the library on 5th and 42nd. In the afternoons, I do research, reading, editing, and play with the kids.
I love meeting 'the Odd Man Out' - like fans of 'Baywatch' who regret, as I do, that Tower 12 Productions didn't put nearly as much energy into writing and directing the show as they put into photographing and editing it.
Once you sign on as an actor, you know, you don't go to the editing room, you don't see how they cut, you don't see how they score, you don't see how they cast the rest of the movie.
I grew up loving watching movies, and at a certain point, I started to become fascinated with making movies. Then I went to film school, and I got to dabble with different aspects of moviemaking, and I ended up settling heavily into editing - editing was what I was really adept at, had a passion for.
I like and I love everything that has to do with cinema: writing, directing, editing, creating music, and even acting.
With portable cameras and affordable data and non-linear digital editing, I think this is a golden age of documentary filmmaking. These new technologies mean we can make complicated, beautifully crafted and cinematic films about real-life stories.
I have an amazing team; I have amazing producers; I have amazing writers, but at the end of it, it's me making the decisions on the writing, the tone, the editing.
How do you deal with giving yourself the options in the editing room for dealing with problems that come up from a shifting tone? It's trying to convince your actors to give you the genes and several versions to have more options in the editing room.
With bad movies, I have this image in my head of the director and the editor in the editing room watching a scene that is not happening, looking at each other and saying, 'Put some music in there.'
Because I am kind of distracted, I don't tend to sit at my desk 9 to 5. It can be two hours a day, or, when I'm in the final editing stages, it can be 14 hours a day.
The problems I have with a flawed script are always revealed in the editing room.
When I first started editing a 'Year's Best' volume in the '70s, the job was pretty straightforward - there were three or four monthly magazines to read and a few original anthologies from trade publishers every year.
As soon as you're finished shooting, you have to go into the edit room and choose all of the shots that you're going to commit to because the visual effects vendor has to get it because they'll spend months on it. So, you're editing out of sequence before you've gotten a film for the movie and the performances.
You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.
I always feel like the editing room is like coming into the kitchen. What kind of a meal do you make from there? It can be anything.
My stormtrooper suit would chip underneath the armpits and in between the thighs. So they had to do a lot of editing for my costume and shave some areas down.