Quote of the Day
To a philosopher all news, as it is called, is gossip, and they who edit and read it are old women over their tea.
Henry David Thoreau
You have a diasporic black world, and the only way to put it back together again is symbolic. It's like Humpty Dumpty. Whoever could edit the 'Encyclopedia Africana' would provide symbolic order to the fragments created over the past 500 years. That is a major contribution.
Henry Louis Gates
I edit things down, and I've got a massive dressing room in the country, and so all the things I'm not going to wear but don't want to get rid of go there. And all the stuff I want to get rid of goes to Oxfam.
I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.
History tells us that America does best when the private sector is energetic and entrepreneurial and the government is attentive and engaged. Who among us, really, would, looking back, wish to edit out either sphere at the entire expense of the other?
The worst thing you can do is censor yourself as the pencil hits the paper. You must not edit until you get it all on paper. If you can put everything down, stream-of-consciousness, you'll do yourself a service.
You might not write well every day, but you can always edit a bad page. You can't edit a blank page.
Although being economics editor sounds impressive, it does not mean I actually edit anything. It mainly reflects two decades of title-inflation at the BBC, which has given ever more status to senior reporters, presumably because it is cheaper to do that than to offer higher pay.
If I could edit Google Images, then I wouldn't be as scared of the Internet.
I realized in the early days I just didn't edit at all. But I think you become a little more cagey with your lyrics when you know more people are going to hear them and make assumptions about you as a person. Realizing that, you want to be a little more opaque.
Every edit is a lie.
I write and write and write, and then I edit it down to the parts that I think are amusing, or that help the storyline, or I'll write a notebook full of ideas of anecdotes or story points, and then I'll try and arrange them in a way that they would tell a semi-cohesive story.
I love producing. My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.
My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I'd like to build something to that effect.
I am atheist in a very religious mould. I'm always asking myself the big questions. Where did we come from? Is there a meaning to all of this? When I find myself in church, I edit the hymns as I sing them.
I don't card out my screenplays ever. I just have an idea I just sit down and write I don't edit.
I spill it out as fast as I can. I don't really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.
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.
No one leaves the edit room thinking, 'Yeah, I nailed that one!' Everyone I know goes into their first premiere or their first screening thinking, 'I screwed up so bad. I'm sorry, I messed up.' It's just a real common feeling.
I never edit the songs that come out. And they tend to come out as a whole. The closest thing I have ever done to editing them is just cutting out a verse, but never rewriting lyrics.
You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.
Sometimes when an actor says something almost perfect, but you know you have to edit it, if you tell them to change something immediately, it will come out great.
There's something about taking a film from concept to script, through production, and then to see the final thing happening in the edit phase. It's almost like a miracle in the making.
Well, there are three different processes of making a film, of course. They're sort of re-written three times. You write it to start with, and then you shoot it and you re-write it while shooting and you sort of re-write it as you edit.
I don't fiddle or edit or change while I'm going through that first draft.
I love the idea of leaving some of the original abstract thought in, because the problem is that when you pick up a pen you become a snob, your own worse critic. You edit yourself in a way that is non-creative.
I pick up my guitar and play. Something might come, and then the pen comes out. Then an edit, until something comes out that you're actually satisfied with.
Yes, the marriage proposal was shot. Michael excluded the dialogue from the final edit.
A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.
And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.
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