Jay Chandrasekhar Quotes

I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.

Whenever I'm not shooting, I'm in the editing room with my footage. While the crew is taking 15 minutes to an hour to set up the next shot, I'm behind the Avid, putting the flick together.

The film is made in the editing room.

I don't think enough directors know enough about editing.

Even other movies I wasn't involved with, I'd watch them edit 'cause I really enjoy watching them go through their process. It's a very economical, educational process.

I love the editing process of making movies. I just wish that life had one.

Learning how to edit movies was a real breakthrough.

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.

You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it. Then you spend half a year in a dark room editing your film, and you don't talk to anybody.

It's not writing in the traditional sense, but I've always said that the writing process continues on the set and even into the editing room.

I was fascinated by the effects that could be achieved by editing. The cutting room became a magic workshop for me.

I have stories that I'd like to maybe one day consider directing, but you need a lot of time to write and put it together.

The only reason for using another cut is to improve the scene.

Consistency is very important when you're making films.

I have considered the directing, actually. Not so much the writing. That is not really interesting, but the directing is really interesting to me.

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.

In movies, you shoot out of sequence, so the issue of reality is really taken out of it.

Any film I've made, I've only really begun to understand in the cutting room. That's when the story shows itself to you, like a wreck coming out of the sea.

The thing with TV and filming is the timing is all faked anyway. You do it so many times, from so many different angles. You never really do it all in one go anyway, so they just fix it all in the edit.

I co-wrote and produced 'Sticky Fingers' with Catlin Adams, who directed it. I learned a lot writing and producing with Cat. I spent as much time as I could in the cutting room with her. All the producing experience that I had helped.

Movies are an editor's medium.

I love editing. It's one of my favorite parts about filmmaking.

It's sort of one ongoing process where writing ends and directing starts.

I got a job as an assistant film editor, which lasted for a few years, but I found writing incredibly difficult, and I thought, 'How am I going to make a film if I can't write?' I didn't really comprehend that someone else would do that bit.

The notion of directing a film is the invention of critics - the whole eloquence of cinema is achieved in the editing room.