Bob Odenkirk Quotes

I have no control over a film. I don't know what will be left on the cutting floor.

Editing is the only process. The shooting is the pleasant work. The editing makes the movie, so I spend all my life in editing.

Watching the completed version of The Two Towers for example, I was very conscious of scenes - sometimes whole sequences - that I had seen being filmed or edited but which hadn't made it into the final cut.

Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.

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.

It took me a year just to edit 'Shotgun Stories.' Actually, it took me two years to edit 'Shotgun Stories.'

Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.

I like pre-production and post the best. I don't like shooting at all. I find it grueling and tough, but I love post and the whole process of seeing the film finally come together. You start ironing out all the rough spots, and the really bad bits you just throw away. So from day one of post to the last day, you see nothing but improvements.

Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.

I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.

That's the thing about making a movie: You never finish editing. They just take it away from you.

What you write on the page has nothing to do with when you're on set. When you're on set, it has nothing to do with when you're in the editing room. And when you're in the editing room, it has nothing to do with the final movie. You just have to let it go.

Most of the films I've done were ruined in the postproduction, not during filming.

Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't part of the dynamic of the story.

I'm not one of these directors, so far, that wants to have a whole separate director's cut of these things. So far they've turned out to be kind of the length that they wanted to be.

You never really know as an actor; it's completely out of your control, in terms of editing, and music, and film stock, shot selection, and what takes they use.

Each movie I make has its own heroes, and the two heroes for me in 'Arrival' are Amy Adams and Joe Walker, the editor. We worked very, very hard, and it was, by far, the longest editing process.

Nothing is cut while I'm shooting. I edit between nine months and a year, and usually have around 80 hours of footage I have to get down to an 82-minute movie.

The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.

You have to find the movie in the editing room, and it can't be four hours; it has to be two hours.

It's very rare to watch a movie and think, 'That's the movie we shot!' So many things happen, with edits and things getting cut out.

If I walk into the editing room, it's six hours lost. I'm massaging frames. I'm, like, 'Oh, take six frames off that shot. Hit the music cue right there.' I will drive everybody crazy if left to my own devices in that room. So I try to do everything I can by staying out of the way.

Don't worry about getting final cut, worry about making the best possible cut.

I love editing. I think I like it more than any other phase of film making. If I wanted to be frivolous, I might say that everything that precedes editing is merely a way of producing film to edit.

Whenever I'm not shooting, I'm in the editing room with my footage. While the crew is taking 15 minutes to an hour to set up the next shot, I'm behind the Avid, putting the flick together.