Editing Quotes - page 3
It's like I can never watch myself on TV unless I have to do some editing before a show comes out. It's like hearing your voice back on a tape recorder and I'm sure you know how horrible that is. I always look for the worst things in myself - criticising my hair and stuff. I'm very self-conscious about it all.
Nigella Lawson
I use emacs, which might be thought of as a thermonuclear word processor. It was created by Richard Stallman; enough said. It is written in Lisp, which is the only computer language that is beautiful. It is colossal, and yet it only edits straight ASCII text files, which is to say, no fonts, no boldface, no underlining. In other words, the engineer-hours that, in the case of Microsoft Word, were devoted to features like mail merge, and the ability to embed feature-length motion pictures in corporate memoranda, were, in the case of emacs, focused with maniacal intensity on the deceptively simple-seeming problem of editing text.
Neal Stephenson
I've heard a lot of really awful, negative things said about Pete, and it's like, "Dude, you don't even have a clue how honest and real that guy is” for the amount of crap that people talk about him. Pete said it, and it's true, they make you into a wrestling character. And it's also like reality TV editing. It's really easy to cut somebody in rolling their eyes when that might not have even happened next to the thing that it's being shown next to.
Patrick Stump
Should novels generally be 600 pages? No, they should not. Half of writing, maybe 3/4 of writing, is editing. This seems to be a thing that has not gotten through to them. It's my impression that you could get rid of half of most of these books. These people are not good enough to be this long, but they're apparently also not good enough to be shorter.
Fran Lebowitz
One of the biggest box-office successes in movie history - probably because for young audiences it's like getting a box of Cracker Jack that is all prizes. Written and directed by George Lucas, the film is enjoyable in its own terms, but it's exhausting, too: like taking a pack of kids to the circus. There's no breather in the picture, no lyricism; the only attempt at beauty is in the image of a double sunset. The loudness, the smash-and-grab editing, and the relentless pacing drive every idea out of your head, and even if you've been entertained, you may feel cheated of some dimension - a sense of wonder, perhaps. It's an epic without a dream.
Pauline Kael
Where will we be ten years from now? CRT's will be a thing of the past, multimedia will no longer be a buzzword, pen-based and voice input will be everywhere, and university students will still be editing with emacs. Pens and touchscreens are too low-bandwidth for real interaction; voice will probably also turn out to be inadequate. (Anyway, who would want to work in an environment surrounded by people talking to their computers?) Mice are sure to be with us a while longer, so we should learn how to use them well.
Rob Pike
I'm only interested in playing competitively if there's serious money on the line. I love playing, but at this point I need a concrete incentive to devote the time necessary to make that happen. If chess was my only love, I'd do it in spite of the financial hurdles. But because I love so many other things, writing and editing in particular, it makes sense to me to focus on that now.
Jennifer Shahade
By June 1949 people had begun to realize that it was not so easy to get programs right as at one time appeared. I well remember when this realization first came on me with full force.
The EDSAC was on the top floor of the building and the tape-punching and editing equipment one floor below. [...] It was on one of my journeys between the EDSAC room and the punching equipment that "hesitating at the angles of stairs" the realization came over me with full force that a good part of the remainder of my life was going to be spent in finding errors in my own programs.
Maurice Wilkes
Film has dream, film has music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster - a movement.
Ingmar Bergman
Manikda was always different from the others. He did everything - from writing the script to choosing the location, finalizing the cast to designing sets and costumes, supervising make-up to framing the shots to editing. He was involved with each and every part of his film and was always very clear about what he wanted. His films were Indian but the production process was western. He also proved that silence can say a million words if used properly and was very economical with dialogues. He used barking of dogs, birdcalls, mechanical clatter or other natural sounds to brilliant effect. It was because of this detailing that every scene of his films became powerful and meaningful. And though he played so many roles behind the scenes, he accepted remuneration from the producer only for direction.
Satyajit Ray
Systems with unknown behavioral properties require the implementation of iterations which are intrinsic to the design process but which are normally hidden from view. Certainly when a solution to a well-understood problem is synthesized, weak designs are mentally rejected by a competent designer in a matter of moments. On larger or more complicated efforts, alternative designs must be explicitly and iteratively implemented. The designers perhaps out of vanity, often are at pains to hide the many versions which were abandoned and if absolute failure occurs, of course one hears nothing. Thus the topic of design iteration is rarely discussed. Perhaps we should not be surprised to see this phenomenon with software, for it is a rare author indeed who publicizes the amount of editing or the number of drafts he took to produce a manuscript.
Fernando J. Corbató
