Lenny Abrahamson Quotes

I directed a movie and now, I'm going to do the editing.

You do need to edit yourself as you shoot because you have fewer options in a smaller movie. In other words, when I'm shooting a big movie, and I got an 85 day shooting schedule or more, then I'm saying I have enough time to shoot option A and B and C and D for every scene.

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.

The film is made in the editing room. The shooting of the film is about shopping, almost. It's like going to get all the ingredients together, and you've got to make sure before you leave the store that you got all the ingredients. And then you take those ingredients and you can make a good cake - or not.

Four months of preparation and about 12 hours of shooting turned into about 30 seconds of screen time.

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.

It takes time to write a script and properly make the film and edit it.

I don't think enough directors know enough about editing.

Veteran' is an exercise in editing because there is a lot of moments I took out and some that almost didn't make it.

I'm so consistent that my director's cuts are usually 20-25 minutes longer than the released version of the movies.

A lot of the issues of rhythm in film are found in the editing because it's very rare that any sequence is the sequence that is shot.

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.

My first cut was three hours and 17 minutes. And then I just became very shrewd about the editing.

When you get into the edit you'll understand what making a film is. You'll see all the things you missed and all the possibilities you have from what you shot.

Once I'm in the editing room, forget about what I intended to shoot. I take a cold, hard look at what I really did shoot, and then I edit that because, if you try to edit what you intended and you missed somewhere, that will show up.

On every show, there's some amount of work that is brought to some state of completion - or even finished - and then cut out of the movie.

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

It's wonderful to work on footage by someone who understands how to get it to cut right, which a lot of directors don't.

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.

I edit as I write and shoot. Any extra line, any pause that I know will get chopped on the editing table is done away with then and there.

Of course, when you're making a documentary, you don't have actors, but nonetheless, there is a writing process that does take place in the editing room.

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

You can certainly shorten things and tighten things, we tightened up Jon's walk to Mance Rayder's tent. That was something that got tightened up a little bit because I had shot the hell out of that.