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I was the Playmate editor for 'Playboy' for two years. I produced two years' worth of centerfolds. I did everything on that, from picking the girls to designing the sets to picking the wardrobe, coming up with themes, assigning the photographer, down to editing the photos and approving the retouching.
The best songwriting comes from being as creative as you can and editing it down to the good bits, essentially.
Writing one's first novel, getting it sold, and shepherding it through the labyrinths of editing, production, marketing, journalism, and social media is an arduous and nerve-wracking process.
Paul Di Filippo
It was not until I began to write a book called 'Light Years' that an editor really stepped in. The editor was Joe Fox at Random House, and he wound up editing a subsequent book.
You can't act for the editing. You just go in and do the scene the way you think is right.
As soon as you're finished shooting, you have to go into the edit room and choose all of the shots that you're going to commit to because the visual effects vendor has to get it because they'll spend months on it. So, you're editing out of sequence before you've gotten a film for the movie and the performances.
I grew up on film sets but more around the process of making films. I saw a lot of the editing process and the writing process, which takes years. That really affected me growing up, that side of it.
So if we're going to build new applications that require a large time investment, like say movie editing - today that doesn't matter for the enterprise desktop, but eventually it will when we get closer to consumers - you really need to have a cross-platform story.
Miguel de Icaza
The film's dramatic requirements should always take precedence over the mere aesthetics of editing.
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.
I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.
The one place I've seen something really come together is in editing. Sometimes you can save pieces in a way that you're really shocked.
When I am shooting, I am inside the theatre, when I am in the editing room, I am inside the theatre. I always try to feel what they will feel. I see a film, not as a director, but as the audience. If I am entertained, they will be, too.
I'm a big fan of editing and keeping only the interesting bits in.
Professional humorists and cartoonists have to go through a stage in which they have to kill their own internal editor just so they can get stuff out. So whether they believe it or not, they need me on the other end to do that editing for them.
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.
My parents were in the book business, my brothers still run the Dutton bookstores in Los Angeles, and I've been interested in editing books and journals all of my life.
I'm a writer first and an editor second... or maybe third or even fourth. Successful editing requires a very specific set of skills, and I don't claim to have all of them at my command.
I stayed at 'Cosmo' well beyond my internship, moving up the ranks over some 15 years to become books editor, then brand director, then editor-at-large - editing everything from an excerpt of Gore Vidal's memoir to writing some of those juicy cover lines myself.
I'm really happy to have the chance to talk about the editing process. It's something that I think doesn't get the weight it deserves, especially with the rise of self-publishing.
You start to think in terms of making an album that might be greater than the sum of its parts. It's sort of like having a lot of footage and then editing it into something that will make sense to a viewer, you know. Sometimes it might involve even working on an older song that might complete that picture.
Although Patterson Beams was not my first plug-in, I knew from the beginning that I would write it, because the single biggest time consuming factor for me was editing each beam manually.
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.
In editing, it's amazing how you choose the in and out points. What you cut on is everything for creating tension. It's amazing how expanding a shot by five seconds can just ruin the tension.
The bottom line is that your performance is made in the editing room.
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