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I love the auditioning process. i love working with the technical guys. i absolutely love the editing room. that was completely fascinating to me, working with an editor in crafting the thing into something you had in your head.
-Neil Gaiman
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I Love The Auditioning Process. I Love

Neil Gaiman
I love the auditioning process. i love working with the technical guys. i absolutely love the editing room. that was completely fascinating to me, working with an editor in crafting the thing into something you had in your head.
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Editing Editors Guy

More From Neil Gaiman

All three parts of filmmaking [writing, shooting, editing] contribute to rhytm. you want the script to be a tight as possible, you want the acting to be as efficient as possible on the set, and you have enough coverage to manipulate the rhythm in the editing room, and then in the editing room you want to find the quickest possible version, even if it's a leisurely paced film. i definitely in filmmaking more and more find writing and directing a means to harvest material for editing. it's all about editing.
Mean Writing Editing
Performance is made in the editing room, and i've come to see the truth in that - the idea that they say performances are usually made in the editing room because what you film is the raw material. i think just going through the process of saying, "which take do we use? why is that the take we want? i want that take can you edit again, i'm not sure that's the one, i think it's this one." and just because you go through that process, i think somehow it's made me sort of more open about the [actor's] possibilities.
Thinking Editing Ideas
I have a great editor and i enjoy, in a masochistic way, being ruthless about my own performance. how do i know, but i think i'm quite good at saying, "that's no good. that's no good. that's it. that's it. that's good." and i'm with the editor who goes, "no, i think you're wrong. that's not your best." there's an initial point in the editing, if you're directing yourself, especially in my case, where you go, "ouch, ouch, ouch, i can't watch this." and then, there's a point where you become hard-nosed and just take your neurosis away and go, "what's working? that's okay. that's okay. we can lose that, and lose that." you get objective about it.
Editors Editing Ouch
Editing rooms are kind of, by definition, a bubble of you and the editor and what you're thinking. it's a truth-telling thing to watch it through someone else's eyes, is to get another level of real with your material. like, "maybe that's not that funny. maybe that's not as interesting. maybe that's redundant to something else. maybe we can cut down." i don't know. it's a brutal, honest process. you've got to be pretty - you can't be sentimental. you have to be. it's a cold process. you can't be nostalgic. you have to make those tough decisions.
Real Eye Cutting
I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. if you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. but if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
Crazy Cutting Opportunity
Too many creative people don't wanna learn how to be technical, so what happens? they become dependent on technical people. become technical. you can learn that. if you're creative and technical, you're unstoppable.
People Creative Unstoppable
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