In my early teens, I knew I wanted to do television production. I loved cameras, editing and producing, anything that had to do with television production. My friend had a production studio across town, and we'd go over there at night and shoot and edit. I produced my father's televised service for 17 years.
I would love to have been a documentary filmmaker; I just didn't have the resources to do that.
When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.
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.
I think people are feeling more artistic and creative with something like Instagram that makes editing easy. That's a good thing for sure.
I really missed what I'd done on Rogers Cable, which was shooting and editing all my own stuff.
I don't like fast editing.
My filmmaking really began with technology. It began through technology, not through telling stories, because my 8mm movie camera was the way into whatever I decided to do.
I was saying as a joke the other day that I love film editing, I know how to cut a picture, I think I know how to shoot it, but I don't know how to light it. And I realize it's because I didn't grow up with light. I grew up in tenements.
When I came to 'Gourmet,' I had no clue how to run a magazine; for television, I am fascinated to learn about editing.
Digital technology has thrown a closed shop wide open, and there are more people out there snapping away than ever before. Some of the pictures are bad, some of them are good, and many of them need some seasoning and direction.
Don't worry about getting final cut, worry about making the best possible cut.
Everybody's a filmmaker today.
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.
People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.
My dad grew up as a computer programmer, so he always had random computer software, and I started opening up editing software at age 12 and figuring out how to build websites.
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.
I used to make little movies when I was younger. I'd make my friends be in them and then edit them.
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.
I cut 'Deer Hunter' myself.
I have an inherent interest in filmmaking and equipment. Some of my best friends are technicians.
I discovered shooting and filmmaking around the time all of the software became affordable to anyone with a PC.
I love editing. It's one of my favorite parts about filmmaking.
I don't do a lot of editing post-shoot, but I use Lightroom to play with contrast and texture and to remove dust.
When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
