Edit Quotes

If I could edit Google Images, then I wouldn't be as scared of the Internet.

I'm pretty selective. I generally edit the contact sheets and then do work prints. Because I have my own lab and printers, I can afford the luxury of going through the contact sheets for black-and-white, making up work prints, seeing them big, and honing them down.

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.

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.

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.

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.

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.

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.

That's the only way to do it. Just like an actor. You can get a great performance if you do a bunch of takes and edit it. You find the moments and string them together.

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.

They're pretty particular about what they show. They certainly edit the scripts and have conversations with the writers about what they are and aren't willing to portray. But the writers and the network are pretty much on the same page.

Every edit is a lie.

History tells us that America does best when the private sector is energetic and entrepreneurial and the government is attentive and engaged. Who among us, really, would, looking back, wish to edit out either sphere at the entire expense of the other?

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

I write and write and write, and then I edit it down to the parts that I think are amusing, or that help the storyline, or I'll write a notebook full of ideas of anecdotes or story points, and then I'll try and arrange them in a way that they would tell a semi-cohesive story.

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.

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.

I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.

A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.

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.

And the most important thing you can do is learn to edit yourself. And then go back and rewrite.

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.

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.

I don't fiddle or edit or change while I'm going through that first draft.

You have a diasporic black world, and the only way to put it back together again is symbolic. It's like Humpty Dumpty. Whoever could edit the 'Encyclopedia Africana' would provide symbolic order to the fragments created over the past 500 years. That is a major contribution.

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.

Yes, the marriage proposal was shot. Michael excluded the dialogue from the final edit.

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

Revising a screenplay is much more frustrating than revising a song because you have to read through the entire work again while you are changing stuff. It is a lot easier to edit a song.

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.