Marc Platt Quotes

Historically, filmmakers always fall in love with every frame, but now that even neophytes are given final cut, this love affair carries with it serious economic implications.

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

'Dark Knight' shot in London and Chicago, and we were on that for so long.

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.

You never hear of a live-action studio that has been making so-so films looking over at a studio that's making great movies and going, 'Oh, we see the difference - we're using a different camera.'

'You Can Count On Me' took 20 days to shoot, and we had 50 days to shoot 'Margaret.'

Don't worry about getting final cut, worry about making the best possible cut.

On the set, I visit the set for a lot of the rehearsals, and there's always a writer on set. And then I'm involved in post-production, very intensely involved in editing, and the sound mix and color timing. Really, I have about nine jobs.

My first cut that I showed the studio was probably 2hrs 20min.

In America, their pre-production is really long but the production is much shorter. They decide everything from the beginning to the end. They edit and nobody can touch it, actually.

My dad told me, 'Your movie's never as good as the dailies and never as bad as the rough cut.

I love the auditioning process. I love working with the technical guys. I absolutely love the editing room. That was completely fascinating to me, working with an editor in crafting the thing into something you had in your head.

I always say one of my favorite things about making movies is finishing on that last day because I get to have my life back and let that go, and hopefully have a real sense of accomplishment at the end of it.

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.

Once your acting job is over, you just hope they have a good editor and they put together a good film.

Interestingly, my first director's cut was an hour and forty-one minutes. Then, the studio actually wanted to add more to the story, so we went all the way up to an hour and forty-seven minutes. After that, I made some additional cuts and now we are where we are.

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.

It's been 50 years since I was on the roof of my parents' house shooting Hag in a Black Leather Jacket when I didn't even know there was such a thing as editing. I thought you just shot the film and showed it. That's exactly what I did. I'm not that different 50 years later.

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

My first cut was three hours and 17 minutes. And then I just became very shrewd about the editing.

Making a film is an incredibly technical undertaking.

Performance is made in the editing room, and I've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, "Which take do we use? Why is that the take we want? I want that take can you edit again, I'm not sure that's the one, I think it's this one." And just because you go through that process, I think somehow it's made me sort of more open about the [actor's] possibilities.

Going into editing when I got to New York was part of that. I guess I just kind of wanted to know as much as possible. But I have a real love of the whole process, from start to finish. So right now, I fit into the acting part of the process, but I wouldn't rule anything out. I'm enamored with how the whole thing works.

Whenever I'm doing any film, there's always three different things. There's the script, which is really just a blueprint. And then, you shoot the movie and it's an entirely different experience than you would expect from reading the script. And then, there's the whole post process and the editing, and it becomes something else entirely.

I never really understood how movies were made, because it was such a technical accomplishment.