David Fincher Quotes

Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.

The bottom line is that your performance is made in the editing room.

Consistency is very important when you're making films.

You know, post-production is a bit of a grind to me. If I'm producing a film, I really... I mean I like editing, but all the other crap, the color mixing and... it's all a grind. And so as a result I cut back producing the number of films I was producing.

I'm amazed that movies ever get finished at all - much less come out good once in a while. It's an awful lot of work and it can go wrong a thousand different ways.

Using the correct apps can completely change how your photos look. It's really exciting because once you've already taken a good photo, it can become 10 times better if you use the right combination of apps. My favorites are VSCO Cam, Afterlight, Facetune and SKRWT.

I feel a lot of films that are shot digitally, even low-budget independent films, they look super slick now. Because the technology is so good that they look too good.

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

Color correction is one of my things.

There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.

It is not as though the process of production holds any mystery for me, I know exactly what it involves and I know the predominant concern in shooting one of those things is production values - or as they would say, seeing it all up there on screen.

It is up to us to produce better-quality movies.

My point was that it's hard to make good films, but I'm not under any illusion that you do all the time.

As a professional, it pains me to watch a movie that is botched and amateurish. I prefer directors who have control of both their craft and their ideas.

Making a movie is a lot of problem solving.

In the next couple of years, part of every film's process is going to be to adjust the images. And it'll be to change the color of an actor's tie or change the little smirky thing he's doing with his mouth. Or you can put in more clouds or move the tree a little bit.

I've made over 20 movies, and 5 of them are good.

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.

A film that is bleached tends to have a more realistic quality.

My principal job is to make interesting and entertaining films, and I'm not proud of which format or which particular technique I use. I just wanted the film to look good.

Now that I can edit the whole thing on AVID and edit the whole thing on tape, maybe I will do the next digitally, because maybe the quality will become less obvious between tape and film.

Filmmakers have to commit to making 3-D films properly like Jim Cameron did and not do cheap conversions at the tail end of the process.

Today, everything has to be made by committee, and has to have special effects, but there's always room for good films.

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.

I had a really good time working with Jim Cameron. A lot of people didn't, but I did as I got on with him really quite well. For a director who spends most of his time looking down a lens or in the digitisation studio or working out some graphics, he is actually very good with actors.