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" To receive footage that has been shot with editing in mind, it is a blessing. "
Thelma Schoonmaker
Blessing
Been
Mind
Related Quotes:
" Editing is a lot about patience and discipline and just banging away at something, turning off the machine and going home at night because you're frustrated and depressed, and then coming back in the morning to try again. "
Thelma Schoonmaker
Home
Discipline
You
" In the very beginning, women were editors because they were the people in the lab rolling the film before there was editing. Then when people like D. W. Griffith began editing, they needed the women from the lab to come and splice the film together. Cecil B. DeMille's editor was a woman. Then, when it became a more lucrative job, men moved into it. "
Thelma Schoonmaker
Woman
Job
Men
" I never thought I would get married: I'm such a workaholic. "
Thelma Schoonmaker
Married
Never
Thought
" Even though my parents are American, I spent my whole childhood and adolescence abroad. "
Thelma Schoonmaker
American
Abroad
Parents
" Everybody would like us to make 'Goodfellas' over and over and over again. "
Thelma Schoonmaker
Again
Like
Make
" The difference between a film that ends up three hours and a film that is envisioned as three hours is that it's written that way. "
Thelma Schoonmaker
Film
Hours
Three
" Scorsese has very defined ideas about how to shoot a scene, and he's an editor himself - we cut together. It means he's constantly thinking about my problems while he's filming. "
Thelma Schoonmaker
Together
Problems
Ideas
" I particularly remember with 'Casino,' everyone was like, 'It's not 'Goodfellas!'' No, it's not 'Goodfellas.' That's right: it's a different movie. Now, everyone thinks 'Casino' is a masterpiece. "
Thelma Schoonmaker
Right
Remember
Everyone
" In 'Silence,' there was no improvisation at all; really, you're dealing with a script and a 17th century way of speaking. "
Thelma Schoonmaker
Really
Improvisation
Silence
" An actor's performance can be improved or shaped - or ruined - by what takes you use, how long you are on the actor's face, what line you put on the other actor's face, and when do you use close-ups or wide shots or two shots. "
Thelma Schoonmaker
Line
You
Two
" In certain fight scenes in 'Raging Bull' - for example, the shorter ones - I literally just took the head and tail of the shot and put it together, and it all worked beautifully. "
Thelma Schoonmaker
Head
Bull
Example
" Some young filmmakers, unfortunately, don't have the ability to resist attempts to maybe cut their films down unfairly. "
Thelma Schoonmaker
Ability
Young
Some
" 'Silence,' I think, was the hardest, because it's so different from everything we've done before and required very delicate handling and trying to find the right meditative pace. "
Thelma Schoonmaker
Find
Trying
Done
" Editing is really like plumbing a good deal of the time. You put two things together, and a current runs through it. "
Thelma Schoonmaker
Time
Editing
Good
" It's part of your job always as an editor: you always have to drop stuff. "
Thelma Schoonmaker
Job
You
Your
" I'm not a person who believes in the great difference between women and men as editors. But I do think that quality is key. We're very good at organizing and discipline and patience, and patience is 50 per cent of editing. You have to keep banging away at something until you get it to work. I think women are maybe better at that. "
Thelma Schoonmaker
Patience
Work
Women
" There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it. You're supposed to feel that a film has pace and rhythm and drama, but you're not necessarily supposed to be worried about how that was accomplished. "
Thelma Schoonmaker
See
You
Mystery
" The studio was very nervous about 'Raging Bull.' "
Thelma Schoonmaker
About
Nervous
Raging
" 'Raging Bull' was just a dream to work on, but it took a lot of work to get all those fights to work right and incorporate them properly into the story. "
Thelma Schoonmaker
Just
Dream
Story
" I'm not a big believer in fate, but, boy, I've had a lot of lucky breaks. "
Thelma Schoonmaker
Boy
Lucky
Lot
" If I hadn't met Scorsese, I would never have become a filmmaker. He has taught me everything I know about editing and has given me the best job in the world. "
Thelma Schoonmaker
Me
Know
Best
" When you're a film-maker, sometimes you have to be a slave to continuity. "
Thelma Schoonmaker
Continuity
You
Sometimes
" My job is so wonderful. "
Thelma Schoonmaker
Job
Wonderful
" You have to have a great director to make a great movie. "
Thelma Schoonmaker
You
Make
Director
" One of our big tools is screening. We screen usually 12 times, which is much more than most filmmakers do, and we recut in between each one, because we really need to feel how the audience is reacting to the movie. "
Thelma Schoonmaker
Tools
Audience
Big
" With Technicolor restorations, it's about getting the color right. "
Thelma Schoonmaker
About
Getting
Color
" I think everyone loves 'The Departed.' That was a movie that had a lot of problems structurally. And we had to battle with it. Fight. Experiment. Try different things. And I think finally we hit it. "
Thelma Schoonmaker
Battle
Think
Fight
" Doing 3D on 'Hugo' was a big learning curve for me, but fun! "
Thelma Schoonmaker
Curve
Big
Learning
" In 'Casino,' there was this scene where Bob De Niro tape-records Sharon Stone's phone call. Then he asks her about where she's going, and he catches her in a lie. It was a great scene, especially for Bob's work, but we found that, in light of the whole film, it wasn't needed. "
Thelma Schoonmaker
Stone
Work
Great
" Throwing things out is one of the most difficult and important things you ever have to do. "
Thelma Schoonmaker
Difficult
Most
Things