Editing is a natural extension of the collage making. It's actually one of the few areas that women were able to excel in in the film industry from the beginning.
Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience.
Editing is a natural extension of the collage making. It's actually one of the few areas that women were able to excel in in the film industry from the beginning.
Writing, of course, is writing, acting comes from the theater, and cinematography comes from photography. Editing is unique to film. You can see something from different points of view almost simultaneously, and it creates a new experience.
One of the first things I said to my kids and we all agreed upon when we first started shooting the show was if we're going to do this, we're all in. We're not going to worry about editing ourselves. So that's what you see. It's raw, and it's real, and it's footage that hopefully people learn from some of our experiences.
When you're in the editing room, the dangerous thing is that it becomes like telling a joke again and again and again. Eventually, the joke starts to not be funny. So you have to be careful that you're not throwing the baby out with the bath water.
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.
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.
If you're writing a screenplay for a feature, you don't have any involvement with the casting process, the editing process, the set design, the costume design, or any of that stuff.
I'm writing, I'm directing, I'm editing, I'm mixing, I'm showrunning. There is a certain point where it's like, the work is the work.
The greatest thing that prepared me for editing 'Vanity Fair' was having four kids because you just learn to subjugate your ego with the greater interest in mind.
In the editing room, 20 percent of the time you're using stuff from before the actor knew the camera was rolling or you're taking a line from somewhere else and putting it in his mouth.
Since I was a child, I've liked telling stories. Maybe because my father's a director, I grew up loving stories. I'm not good at spinning them at a dinner table because I do go on a bit, but I love writing them, and directing is just a way of editing the story.
We Need To Talk About Kevin,' as an adaptation, was pretty major. It's a long book, and it's in letters, so it was a real editing experience to boil that down and make it cinematic. I learned a lot doing that film.
And after you've done the acting, there's a lot of places you can put your input - in the editing, in the production of it, in the rewriting of it and so on.
I can lock myself for months in the editing suite with no noise or distractions. It's fascinating to see the film taking shape.
There is a kind of structure for a story that was peculiarly compelling for the radio. I thought I had invented it atom-by-atom sitting in an editing booth in Washington on M Street when I was in my 20s. Then I found out that it is one of the oldest forms of telling a story - it was the structure of a sermon.