Joss Whedon Quotes

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.

On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.

When the picture was finished, they took me into the sound room and then I screamed more for about five minutes just steady screaming, and then they'd cut that in and add it.

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.'

It takes time to write a script and properly make the film and edit it.

You can make or break a picture in the dubbing room.

And after you've done the acting, there's a lot of places you can put your input - in the editing, in the production of it, in the rewriting of it and so on.

When I'm working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we've shot the scene, the director is not looking at the visual effects.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

I realized the exciting place was behind the camera with the producer, director and so on.

Someone who directs a film, they have to see the overall picture, and they have to get the best performances out of the actors.

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.

My perception of making a movie before I started making movies was that it would be like 'Spy Kids'.

Animated films are so precisely engineered - right down to forming lines of dialogue with words pulled from several different takes - how do you translate that spontaneity from the live-action to the digital realm?

I got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.

I still don't know much about directing a movie.

It's not rocket science to make a movie.

I did three or four weeks of work on 'Godzilla;' it wasn't a page-one rewrite or anything like that. The term is 'script doctoring,' is what I did on it.

Working on a film is so great because you have the luxury of more time when you're on a movie than when you're on television.

I first started working in film when I was 17. I was a director's assistant, an editor.

Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing.

It's a lot of work that goes into producing and directing and all those kinds of things. It doesn't just happen. It's a lotta work. It's a lot more work than acting.

For me, shooting, editing, and scoring rely on rhythm.

With Fever, the film was so made for the screen, and there's so much surround sound that was done for the film - enormous detail paid to that. I wasn't thinking video, because I didn't know how it was going to turn out.