Top 151 Edit Quotes

A kid now can practically record a song or edit a short film on his way to school. I think that will produce, perhaps, more less-interesting things – or you’ll have to search more to find the interesting things. But I also think it’s exciting.

You have a schedule that you really have to stick to with TV and make sure that you are producing enough film for the network to edit through and air quickly.

I love improvisation. I mean, it’s hard to edit, because things don’t necessarily fall together – you have to find ways to give it a dramatic scope, shape. But it’s so much fun.

When my boys were little, I’d throw so many toys at them, but they didn’t want to play with any. Then I’d give them a truck, and they would play for hours. I believe the same thing applies to a consumer – edit their choices, and they will be more intrigued.

There are courses you can take to learn the mechanics of the business, like the Radcliffe course, but I don’t think they teach you how to edit.

You know how everyone – there’s this maxim that we all become our mother or we all become our parents. And, generally, I really wouldn’t mind becoming my mother. I really like her, so I wouldn’t mind becoming her. But I definitely need to edit her.

As for making video comedy, pretty much anyone can do it. When I got started, I just filmed it with my webcam and used iMovie to edit the video, which I still use.

Of course no documentary is completely ‘objective.’ Every decision you make – who to interview, how to edit, where to hold the camera – imposes a point of view on the film.

I’m too diplomatic. I tend to edit my mind before I speak – it can be incredibly draining.

I am on Vine. It’s another early-adopter kind of thing. I’m trying to figure out what I’m going to do with it. What’s interesting about it is that everybody knows these amazing restrictions we’ve put on it: I have to use my iPhone, I can only use one continuous take, I cannot edit afterwards, I cannot put sound afterwards.

I didn’t know what it was going to look like or how anything was going to turn out, but the production on ‘Teen Wolf‘ is so amazing. The way that they shoot it, edit it, and put it out there, it’s really so exciting. I trust the team so much. They do such a good job.

I realize that I am typically vulnerable only when and where and how much it suits me. I can choose my writer words and even go back and edit.

TO preach a sermon or edit a newspaper were the two things in life which I always felt I could do with credit to myself and benefit to the world, if I only had the chance.

I come from theatre, and I feel like I have to go back to it every few years because it’s like nourishment for the soul. And, as an actor, it’s the place you have most control: no one cuts or edits you, and you get to tell the story each night.

The important thing is to write when your brain is at its best. Work edits or do outside reading with the rest of the day.

When I was a kid, I used to make skateboarding videos, and I would pretend to be in a band and make rock videos that I’d edit with two VCRs.

I really like the idea of being utilitarian. My dream is to edit down my wardrobe and be very Japanese, where you have one rolling rack and it’s like your four T-shirts, your five dresses, your two pairs of jeans.

One of the annoyances of working for The Guardian is that, obsessed as the organisation is with its digital and social media presence and its own sense of singular importance, editors would militantly try to edit your tweets.

It’s very rare to watch a movie and think, ‘That’s the movie we shot!’ So many things happen, with edits and things getting cut out.

I am such a gearhead. In my recording studio, I personally engineer and edit everything on computers.

I am inspired just by the way a scene can be interpreted by the actors. It can make a huge difference on the type of music that you write. It’s best for me if I don’t work at all on a project until the movie is shot and I have some sort of edit in front of me.

If getting a contract was relatively straightforward, writing fiction was far harder than I could have imagined, and there were moments during the long and torturous edit process when it seemed that ‘Zulu Hart,’ the first of the trilogy, would never be fit for public consumption.

I know the fans are very personable with my mom and things like that. They make little collages and pictures. They make edits of me and my mom together.

When the simple word processors came in, writing became crisper, less dense – just because of the way we could instantly edit on the screen. Now the ability to mash up words and pictures and links and songs and tweets is what matters. I can’t imagine what writing will be like in 2154.

I’m not sure when exactly I knew I was funny, but I always knew I was different. I never had an ‘edit’ button and would say whatever came into my head. Most of the time, what came out of my mouth was the very thing everyone else was thinking – but too polite or afraid to verbalize.

Although being economics editor sounds impressive, it does not mean I actually edit anything. It mainly reflects two decades of title-inflation at the BBC, which has given ever more status to senior reporters, presumably because it is cheaper to do that than to offer higher pay.

Kabir sir is an extremely planned director. He knows how his film is going to look like and knows exactly what edits are to be made in the film. Thus, it helps the actor a lot when they work with somebody who is so planned.

For me, it’s always been so obvious that the less we can edit our lives and more we show how normal we all are, the better.

If you have a pre-conceived idea of the world, you edit information. When it leads you down a certain road, you don’t challenge your own beliefs.

I think it’s good to not edit your life too much, or you give people different standards.

There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.

I take a subject, then I go on stage, and whatever is in there comes out. You can edit as you go and continue to work it out on stage until it’s something you like, but I never think about it. I just go up and flow.

If I’m going to take my clothes off I figured I might as well do it for something that I’m directing myself since I had complete control of the edit.

When I’m in full-on writing mode and have the day, I try to get in my office around 10 A.M. and stop once ‘Judge Judy‘ comes on at 4, when I quit and come down. Sometimes, I leave her on while I edit – if she can make the tough calls, then so can I.

I kept thinking, I’m not going to do political journalism, because there’s no way to keep my principles and be a political journalist, so I’ll edit a popular science magazine. This will be my salvation, and I’ll emerge with my integrity intact. That didn’t even happen.

I only like doing live telly. It’s great because you go in and do it and then go home. No edit, no retakes.

The thing with TV and filming is the timing is all faked anyway. You do it so many times, from so many different angles. You never really do it all in one go anyway, so they just fix it all in the edit.

It’s hard to edit. It’s hard to stay focused. And yet, we know we’ll only do our best work if we stay focused. And so, you know, the hardest decisions we made are all the things not to work on, frankly.

I think most new writers are better off going with traditional publishers who will actually, at a minimum, edit your work, package it well, and market it for you.

I’m in awe of directors like the Coen brothers who can shoot their script and edit it, and that’s the movie. They’re not discovering the movie in postproduction. They’re editing the script they shot.

Specifically, my favorite tool in Java is hot code swapping in debug mode, meaning I can edit the code while the game is running and immediately see the results in the running game. This is super great for rapid tweaking.

I haven’t done any major filming with a major production company yet, but I’ve definitely done a lot of filming with a lot of professionals, filmers, and film little edits and put them up online. But I would definitely say that slope style skiers are entertainers as much as they are athletes.

There needs to be an app that edits what I say versus what I want to say.

If you want to edit your photos and make yourself look different, go for it. That is up to you, but in my opinion, you should always post things that you think do a good job at representing who you are.

Every edit is a lie.

It takes time to write a script and properly make the film and edit it.

When I edit, I’m not from the school of Hello, I’m a genius, so everybody shut up. I’m from the school of Let’s play it once in front of an audience, and then I’ll tell you where it is going.

I spill it out as fast as I can. I don’t really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.

I decided to do advertising, as ad films were made in only 10 days, and started assisting Sanjeev Sharma and Mansoor Khan. Surprisingly, I was a whiz kid and soon learnt to edit films and became an expert at it.

Even though I studied in New York and I know the American system, I come from France where I learned that with movies in France where the director is king. There’s no such thing as a studio edit. It’s the director’s cut, period.

Most of the photos I take I don’t post, so Instagram is not my thing. I like to edit them, make them look good, and keep them for myself.

As a child actor, I had sung a song in the Bengali film ‘Bhagyadebata’ but it wasn’t kept in the final edit.

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.

People try not to think about what’s going on in sub-Saharan Africa. They edit it out of their daily lives. Especially Americans. We prefer a fantasy version of Africa.

There are people who do things in tech that have the same skill sets that journalists have. They write, they edit, they put out press releases.

The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won‘t lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don’t have anything on paper.

A few performances have been left out of the various Woodstock soundtracks and film edits over the years, most notably The Grateful Dead.

I’m from Boston, and I get easily overwhelmed in New York, so I go to Boston and stay with my parents for a few months at a time to write, or edit, or just to cry.

Learning how to edit movies was a real breakthrough.

People know what I look like. I take photos on my own, and I don’t edit them, so people know.

Life only has narrative when we frame it and edit it and call it certain things.

My mom did this really cool thing: when ‘Pulp Fiction’ came out on video, she made, like, a ‘mommy edit.’ She took two VCRs and dubbed ‘Pulp Fiction’ from one tape to the next and edited out all the parts she thought were unsuitable for a kid. It was basically, like, the opening and ending credits.

Every director knows it is his job to be manipulative. When you make an edit, you are trying to manipulate.

I love producing. My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I’d like to build something to that effect.

Well, there are three different processes of making a film, of course. They’re sort of re-written three times. You write it to start with, and then you shoot it and you re-write it while shooting and you sort of re-write it as you edit.

You have to edit the material. That assumes that some kind of a mind is operating in relation to the material. Not all minds are the same. Every aspect of filmmaking requires choice. The selection of the subject, the shooting, editing and length are all aspects of choice.

I don’t edit on laptops anymore.

The storytelling in a movie is in the cut; it’s in the edit. It’s not an actor’s job, really. Your job is such a tiny little thing, and I love the feeling of juggling or tightrope walking.

Every film starts with two or three images. Then I try to edit these images.

As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.

Anybody with a good smart phone can shoot and edit a film. Distributing it is the hard part.

The first thing I do in the editing room is the ‘radio edit,’ where you listen to the dialogue and don’t even look at the visuals. The rhythm, the music of the comedy, has to work.

There is no right or wrong way to pair or prepare a dessert. Follow your instincts, edit, and taste-tweak-taste until you get it just right!

Trump would have us revise and edit our historical memory of 9/11, turning it from a unifying narrative of heroism, tragedy, and war and recast it to serve the political ends of a man unworthy of the presidency.

I think too many people edit themselves way too soon. There’s plenty of time to edit, and it is a crucial part of it all, too.

You might not write well every day, but you can always edit a bad page. You can’t edit a blank page.

I like files. I like editing a CSS file without necessarily having to edit an HTML file. I like fixing a problem by replacing a corrupted file with a clean one. Maybe I’m set in my ways, but I don’t consider it a hardship to open a folder or replace a file.

Anything can happen in SF. And the fact that nothing ever does happen in SF is only due to the poverty of our imaginations, we who write it or edit it or read it. But SF can in principle deal with anything.

My dream as a producer is to be able to build a company that can be a safe haven for artists, for directors and for writers and actors to do what they do best and let them have final edit. I’d like to build something to that effect.

‘Writing’ is the wrong way to describe what happens to words in a movie. First, you put down words. Then you rehearse them with actors. Then you shoot the words. Then you edit them. You cut a lot of them, you fudge them, you make up new ones in voice-over. Then you cut it and throw it all away.

One of my first videos on VHS, unknowingly at the time, was a stop-motion of a cup moving across a countertop on its own. I was pretending that I was performing some kind of magic trick. It was my way of doing effects without understanding how to edit.

I edit things down, and I’ve got a massive dressing room in the country, and so all the things I’m not going to wear but don’t want to get rid of go there. And all the stuff I want to get rid of goes to Oxfam.

I organize my closet by season, color, and silhouette, but I don’t edit often enough, which causes me to hoard Hermes cuffs in Hermes bags that are crammed into my living room because my closet is overflowing.

The sublime moment seems to be only a product of allowing yourself to get through, to get to a lot of stuff in your life, write about a lot of stuff and not edit yourself. That is a great lesson to learn for anybody that writes or creates in anyway, to be able to make something without being good or bad.

Sometimes we’d just play acoustic guitar and try out the parts and make a library. We’d use a double cassette player and make little edits.

Showrunning is when you’re the constant creative voice in the show. For a year-and-a-half, you are working on the scripts, you’re fine-tuning them, you’re the final say on the edit, the music and the cast.

I think I’m able to do so much because writing is what I love to do. So, often when I have free time, I choose to write and edit.

When I was about 19, I shot a tape of me doing magic just to people on the streets, and I would edit together all the reactions and I kept pushing this idea, and then ABC came on board and made my first show.

Every show I play, I try and make it unique. I don’t pre-plan my sets and always try and drop new music from my label or artists I am supporting. Equally, I spend countless hours making edits and adding my own touch to the music I want to play.

I used to make little movies when I was younger. I’d make my friends be in them and then edit them.

I edit as I write and shoot. Any extra line, any pause that I know will get chopped on the editing table is done away with then and there.

I love to simplify and edit the contents of just about anything, but women‘s closets hold particular appeal to me. I edit mine about four times a year and hold a yearly ‘clothing swap‘ to encourage my girlfriends to do the same.

I really have to edit myself – I need someone with a censor button around me all the time. I’m just a little unaware of what’s deemed appropriate.

On YouTube, we were our own masters. We could sit on an edit until we got it right, we could choose quality over quantity.

I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can’t. My attitude is always ‘let it keep rolling.’

My personal feeling is that ultra-high frame rates and ultra-vivid giant screen movies can be like a window onto reality. And if you recognize it as such, you can write your screenplay, direct your movie, edit it, and present it as a live experience – not like a movie.

I don’t card out my screenplays ever. I just have an idea I just sit down and write I don’t edit.

I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.

When I first started, there really was no beauty guru community. I didn’t have the right production resources. I had to learn how to edit. I didn’t even have beauty products. I had to go out and buy them myself because beauty brands didn’t even know what a beauty guru was.

When you’re in a friend circle, you all kind of talk the same way. And it’s hard to do on-the-fly radio edits of yourself.

It took me a year just to edit ‘Shotgun Stories.’ Actually, it took me two years to edit ‘Shotgun Stories.’

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.

The text illustrates the pictures – it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it’s easier to edit words – I use text as grout in between the tiles of the pictures.

The only advice I can give is to surround yourself with people who are friends and people who believe in you and your material and who are going to help you take it to the next level. It doesn’t mean you don’t listen to criticism, but you listen to it and edit it, and you figure out what you can take.

No one leaves the edit room thinking, ‘Yeah, I nailed that one!’ Everyone I know goes into their first premiere or their first screening thinking, ‘I screwed up so bad. I’m sorry, I messed up.’ It’s just a real common feeling.

You learn pretty quickly: if you fall in love with your edit, you’re bound to be heartbroken because it will all be re-cut.

When you make a 3-D movie you actually have to plan the way the visuals look because there’s a parallax issue, and there’s an issue of editing; you can’t edit very quickly in 3-D because the eye won’t adjust fast enough for it.

Many families would like to avoid burdening future generations with inherited diseases such as haemophilia or severe developmental disorders. But most would think it wrong to edit the genes that influence the ‘normal’ range of human variation, from eye colour to intelligence or athletic ability.

In my experience, with very few exceptions – I am, as it happens, one of the exceptions – the one thing that most editors don’t want to do is edit. It’s not nearly as conducive to a successful career as having lunch out with important agents or going to meetings where you get noticed.

Edits are very important to me – they’re the way in which I work on everything.

And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can’t direct, they can’t write, they can’t act, but, by God, they all think they can edit.

I never edit the songs that come out. And they tend to come out as a whole. The closest thing I have ever done to editing them is just cutting out a verse, but never rewriting lyrics.

To edit someone from your life must be a properly evaluated decision. After all, the act of distancing yourself is difficult and, if executed improperly, could prove even more troublesome than if you were to have done nothing at all. The key is to create the distance gradually – a ‘fade out’ as I like to call it.

Reality does get a bad rap. But I’m not concerned about it ’cause I know who I am. They can edit it, but you are in charge of what you do.

Later, in the afternoon, I read what I did that morning. It’s almost always a surprise. But I can read it rationally; edit, polish, re-write, and think what I might do tomorrow in the early darkness.

Eight years ago, if I wanted to do a YouTube video, I broke out my camera and filmed everything myself and learned how to edit and kind of become a one-woman studio. But we’re living in an era now, thanks to ICON, where any creator who is online, they can create in their own space.

Students often have such a lofty idea of what a poem is, and I want them to realize that their own lives are where the poetry comes from. The most important things are to respect the language; to know the classical rules, even if only to break them; and to be prepared to edit, to revise, to shape.

I think it’s important for us not just to edit the culture that capitalism creates but to create the material basis for a culture that we want.

Write when drunk. Edit when sober. Marketing is the hangover.

I realized in the early days I just didn’t edit at all. But I think you become a little more cagey with your lyrics when you know more people are going to hear them and make assumptions about you as a person. Realizing that, you want to be a little more opaque.

When you publish a book, it’s the world’s book. The world edits it.

I tend to edit some as I go – partly because one of the reasons I don’t outline much is that I don’t know what the next scene will be until I’ve actually written the previous scene.

You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don’t think that’s it.

Fight scenes are like learning a dance. You learn it move by move, and then you put it all together and it looks awesome when you edit it together. It’s great!

Shouldn’t a three-course meal be 90 minutes? Do you know how hard you have to edit your menu to pull that off? Twenty-seven minutes. That’s the average meal at Jiro’s in Tokyo.

Producing just one video is a long process. First, you decide your song, then you have to figure out the arrangement of the song; will you play it on the guitar? Will you make it a music video? Once you figure that out, you record it and then edit it, which can take two to five days to finish.

Mostly, I am waiting. Got to finish the edit, I am waiting. Dubbing must get over, I am waiting. Waiting for shoot. Waiting for the set. When you are waiting, your mind isn’t relaxed enough to watch a film.

I was relatively technically adept. I can edit and wire up a light.

I have every sympathy for writers. It’s a mystery to me what they do. I can edit. I can cross out and say, ‘I’m not saying that’ or, ‘How about we move this to here? Wouldn’t that make that bit of the story better?’ But where any of it comes from is beyond me. I will never write a play or a novel.

There’s editing, and scripts to read and edit, and casting, and all the elements of production that just sort of take up the normal downtime that you would have as an actor. So there’s not a lot of that for me.

What good is making a jewel if nobody see it? But cost depends on the story. To get those performances in ‘Biutiful,’ you need that time. You need 60 takes in a scene and a year to edit. It’s not realistic to do it any other way.

A lot of people who are ‘social media‘ stars aren’t considered to be ‘real’ stars, and people underestimate the amount of work it takes to edit and upload a video every single day and document your life like that.

In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.

Sometimes when an actor says something almost perfect, but you know you have to edit it, if you tell them to change something immediately, it will come out great.

I don’t like writing – it’s so difficult to say what you mean. It’s much easier to edit other people’s writing and help them say what they mean.

When you finish a record, I look at it like a photograph. It’s already taken. You got it the way you wanted it to be. You edit it, make sure the light and contrast are right, then you just put it away, and that’s your photograph. Then you don’t really think about it anymore.

I don’t type on the computer or edit. Law students who went to law school really just a couple years after I did were brought up all on the computers and that’s how they do it, but I was still part of the older school.

You have to edit it, mix it, color grade it, there are processes and the audience doesn’t care when they binge-watch a show. They think in four weeks you should get the next season.

I took one film class at NYU over a summer and learned the basics – you know, how to load a camera and how to light and how to edit – and I became a film editor.

The worst thing you can do is censor yourself as the pencil hits the paper. You must not edit until you get it all on paper. If you can put everything down, stream-of-consciousness, you’ll do yourself a service.

To tell you the truth, I don’t edit much at all. Most times, when I have finished the first draft, that’s the book. Of course, I work on the page I am on until I am happy with it. I might even say that I try to state the landscape.

Nothing is cut while I’m shooting. I edit between nine months and a year, and usually have around 80 hours of footage I have to get down to an 82-minute movie.

I just kept it real and had the freedom to do what I want. It’s not designed for any age group. It’s not made for radio. There are no edits. The whole album contains explicit lyrics but that’s because you need it.

I generally edit quite heavily. In general, there aren’t many scenes that are sitting where they sat in the script in the final form.

I was very much fascinated with the technology we had that we could edit in the computer our compositions, but all the sounds that were available on the market were crap.

For me, I’m not Spielberg. I can’t edit while filming another film.

I wouldn’t ever do a radio edit because I feel like it would totally go against the point of ‘Follow Your Arrow.’ I just think you’re going to like it or not like it.

You have to do all kinds of things like voice-overs, corporate gigs, and edit videos to support yourself.

The only thing that private school did for me was give me this foundation where, if I choose to, I can speak proper English, or I switch to Ebonics, or I can edit myself and not curse.

Now every person edits the story they tell about themselves, carefully ensuring what the world looks at – whether it’s over Instagram, Twitter or Facebook.

I just ended up focusing on film editing as I was getting my career started. I’m very passionate about editing and will continue to edit for the rest of my career, but it’s not like that was all I did and then somehow I grew into directing a movie.