Angelina Jolie Quotes

Feature filmmaking is a different kind of complication as documentary comes in the editing room.

Of course, when you're making a documentary, you don't have actors, but nonetheless, there is a writing process that does take place in the editing room.

That shot in "Into the Inferno" somehow popped up while my editor and I were viewing the footage. I immediately said, "That looks like the opening shot because the camera approaches the action very slowly and we have enough time to insert some of the main credits into it." So it was a practical choice. At the same time, you see these tiny figures standing at the rim of something, and all of a sudden, the camera rises further and you find yourself looking straight down into an inferno.

I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.

A truly creative person rids him or herself of all self-imposed limitations.

You have to be willing to offend in order to make progress.

People put limitations on their creativity, believing they have to rely on what they know and what they have done.

For a film, when you condense, you don't want to keep going back to the same setting over and over.

Any type of animation, it could be really super crude or very sophisticated, it doesn't mean anything if we don't make this point in this shot, this one here and this one here. There's the saying, 'One shot, one thought.' It's pretty much a true way to go.

Well, you always discover a lot in the editing room. Particularly the action, because you have to over-shoot a lot and shoot an enormous amount of material because many of the sequences have to be discovered in the editing and manipulation of it.

You can't reinvent the wheel. I remember when we first started out at 'Late Night,' we were trying to hire directors, and this guy was like, 'I see you behind a glass desk.' I don't. And he's like, 'Yeah, the glass desk.' I go, 'I don't really see me as a glass desk guy.'

There's always the pressure on the director of how to transition from one scene to another, especially when it can really be oblique on 'Game of Thrones.'

I love directing more than anything in the world, and I love being in the editing room. I love cutting. When I'm shooting, I cut it in my head anyway. That's not to say that it always turns out that way, but you have a sense when you're composing a sequence or a scene how you want it to look anyway.

You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.

In a play, you dictate pace, you dictate rhythm, you dictate when people look at you, when people should be looking at something else. In film, the editor does that.

Every single director stops at the moment he thinks he has the shot. Sometimes, directors shoot an establishing shot where everything is in the shot. He's going to use this at the beginning and the end.

We set out to capture what was happening, and then we cut that into the series.

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

When I write a screenplay - and I think it's one of the reasons why it was frustrating for me just to be a screenwriter - I'm not thinking of it in terms of words on a page; I'm thinking in terms of visual images - basically, a comic book. I'm thinking of it in a series of shots.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

I think there is something to be said for what you can do when you don't know what you aren't supposed to be able to do.

The essence of creativity is to look beyond where you can actually see. I don't want to dwell in same place too long.

I love being in the editing room and playing with tempo and with the rhythm of shots.

The key to making good movies is to pay attention to the transition between scenes.

When you make a film, you realize that the audience will be powerless to stop it or flip back to refresh their memories or skip the boring parts. They are at the mercy of your storytelling.