Editing Style Quotes

The difference between film and TV is the pace. You don't have the leisure of time in television.

I don't like fast editing.

There was a lot of stuff [in Rock of Ages] that had effects in it and I thought it was too smooth. I thought it would be sexier if it were in-camera cuts. So I did that.

The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.

I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.

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.

[My mom] is quite the strict editor. I feel like maybe she has more of the old-school editing style, which really works in picture books, because you don't want to articulate anything in words that is already shown through the pictures.

I'm too big a fan of rhythm and editing. I'd much rather my editing be brave than my shooting.

I'd love to find a lifelong female film editor as Scorsese has with Thelma Schoonmaker. I think women are probably, without generalising, sensitive to subtle things as an editor.

I don't like to work in an office. I like to work in my house, to be among my own thoughts. The idea is for an editor to let his artist alone, let them be themselves, let them exchange their own ideas and you'll come up with something salable.

I'm not a fan of these very cutty, handheld-y kind of films or TV shows, where a cut is just every half second or every two seconds, where you're desensitized to it. To me, a cut should say something and be impactful.

My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.

But actually I make films that I think are extremely sophisticated and cinematic.

Miranda is extremely tacky. I personally want to edit my videos well, but I have to keep Miranda's character in mind, so there are bad angles, flashy cuts, and sparkles everywhere.

I think I'm succinct to the point of trying to write the two-word novel. Editing my work almost never means taking anything out but rather adding, because I'm always stripping down. I tend to under-write rather than over-write.

I'm a big fan of being able to hold those long shots and use space. I don't know, I think everything's so quick cut these days, as if films are too afraid that the audience is going to get bored instead of relaxing and trusting their work.

I've followed Mysskin sir's work, and I really like his style of filmmaking.

I'm a fierce editor! I don't edit out things that I began by saying, usually. The editing is on the micro level - a comma here, a word there.

I'm an unusual director in that my cut is usually shorter then the final released film. I like short films.

My directing style is long takes. The longer take I can do, the more I can think of not doing it in cuts, the better.

There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it. You're supposed to feel that a film has pace and rhythm and drama, but you're not necessarily supposed to be worried about how that was accomplished.

What bothers me is that the cinema - what Fox News calls the "wholesome cinema that our children are supposed to be able to see" - is so violent. I'm not even talking about the content. I'm talking about the way in which it's cut.

I watch comedy on TV, and it's too cutty for me. I get a little jarred, and it succeeds. It's not like it's not working, and I look at certain things, and it has the cutting... it's not like I'd make terribly different cuts, but for some reason, it moves too fast for me.

I confess that Roy was a little bit dictatorial in his editing and he ruined quite a number of my pictures, which he stopped doing later. He used to punch a hole through a negative. Some of them were incredibly valuable. He didn't understand at the time.

I'm not one of those directors who can just kind of walk away from the edit room and come back and check in.