Algerian - Editor | January 3, 1940 -
I can access footage much quicker, yes. But in terms of living with a film and knowing what's right, digital doesn't do that for you.
Thelma Schoonmaker
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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.
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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.
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I know a lot of editors who are very bitter about the directors they work with. They feel they could have done a better job, and I say to them, 'Oh really? Why don't you go try - it's not easy.'
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I love being around great artists, and I've been around a few of them.
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The studios are nervous on every movie. It never ends, because Marty's movies are so unusual. He doesn't repeat himself, so they don't know what to expect. We have to fight hard to keep them from being ruined. Film students can't believe that when I tell them, because they think, 'Well, it's Martin Scorsese.'
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My job is so wonderful.
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I don't think enough directors know enough about editing.
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I have the best job in the world.
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Ballet dancers really know how to enter a room.
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Some young filmmakers, unfortunately, don't have the ability to resist attempts to maybe cut their films down unfairly.
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I'm very lucky. Most of my friends wait long times for jobs and also don't get the chance to work on 20 films, like I have, with someone like Scorsese. I love working for him. I just would never - I can't imagine working for anybody else.
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