Jason Blum Quotes

One thing that the audience, and perhaps critics, aren't aware of is that, especially in a film like 'Moonlight,' you always shoot a lot more footage than makes the cut of the film.

Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.

When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.

With 'Trainwreck,' because it wasn't live and we could do more takes, I feel like we broke a lot.

I come out of TV, where you never reshoot, because you don't have time. If you do reshoot, it's because someone really screwed up.

I used to sit on the editing table to see where I may have gone wrong because after editing, only the good parts go on screen.

On a television show, you basically make a movie a week. Movies take three months - it's crazy. They're so slow, it's like vacation to me.

There's the movie you write, there's the movie you shoot and the movie you edit, and often, you find that you're getting the same information out of a scene that you already have and a scene that's actually more powerful, so you have to make the tough decision to take it out.

Our producer Jon Davison thought it would be a good idea to put in additional TV scenes. So, they sent me a tape of these additional TV scenes, and I watched them, and I didn't think they were that great. I didn't think it was worth putting them in.

I don't look at rushes, or I don't go to the dailies. I don't even really look at playback... unless it's an action scene or a move that I need to do better, something like that.

I've never heard of a comedy that hasn't had reshoots, especially for the ending of a movie in a comedy.

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.

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.

Particularly in the final stages I always find that I'm rushed. It's dangerous when you're rushed in the editing stage, most of my early films are flawed in the cutting.

I have no control over a film. I don't know what will be left on the cutting floor.

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.

Film, as far as I'm concerned, is my area of artistic endeavor, so I never think of a movie that gets released as being all done-it's just when they took it away from you.

I'll tell you one thing. I've never heard a director saying that the dailies suck.

Truthfully, I don't know how those special effects people do it.

I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.

Four months of preparation and about 12 hours of shooting turned into about 30 seconds of screen time.

Coming from the industry and maintaining contacts with producers and directors, I am very well aware that costs associated with movie production are a major factor in determining where films get made.

A film goes through so many hands, that by the time it's done, it might not resemble what you thought you were making.

There's nothing worse than a dream sequence done all in post-production.

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.