You can use any editor you want, but remember that vi vi vi is the text editor of the beast.

Editors are a bit like stage-hands: the play can’t go on without them, and yet their role is necessarily in the shadows. It is, however, interesting to see how many writers acknowledge their editors – the third eye is of value.

Mistakes detected by copy editors are not likely to be noticed by readers, and vice versa.

Worship good editors. They save you from yourself, from your blind spots, and from your weird little habits that you think are charming but actually are not.

Editors aren't intrinsic to writing. They're just an artifact of how the publishing business works.

At the time of making a picture, I want not to know what I am doing.; a picture should me made with feeling, not with knowing.

Ah, but they aren't violent until I've edited them.

I would like to manage to prevent people from ever seeing how a picture of mine has been done. What can it possibly matter? What I want is that the only thing emanating from my pictures should be emotion. [Boisgeloup, winter 1934].

A good editor is not there to slash and burn—they are your first and fiercest ally, not your enemy.

I always figured that once I wrapped a film, then anything beyond that is none of my business. If I can avoid seeing the final product, then all I have in my head is feeling good about the experience.

As you reread, circle whole sections that are good in your notebooks. They often glow off the page and are obvious. […] Naturally, there should be a place for editing and revision, but when we hear the word editor, we think, "Okay. I let the creator in me go wild, but now I'm going to get back to the proper, conventional, rational state of mind and finally get things in order." We bring out the man or woman in a tweed suit from the East Coast with a doctorate in literature who is critical of everything. Don't do that. That person in the tweed suit is just another disguise for the ego that is trying to get control of things any way it can. […] Instead, when you go over your work, become a Samurai, a great warrior with the courage to cut out anything that is not present.

Generally speaking, I don't like to design something that is there to be seen. I design something which is there to be felt.

Once the screenplay is finished, I'd just as soon not make the film at all ... I have a strongly visual mind. I visualise a picture right down to the final cuts. I write all this out in the greatest detail in the script, and then I don't look at the script while I'm shooting. I know it off by heart, just as an orchestra conductor needs not look at the score ... When you finish the script, the film is perfect. But in shooting it you lose perhaps 40 percent of your original conception

Let me say that I do not watch my works often. I focus on my job and I just let it be. You have no control over what the editors will do with your work so there’s no point worrying. You’re attached to the project and that is great no matter how it turns out. The best thing is that there is a possibility that people will take such an interest in the project in which you are involved and it will inspire the viewers. They will open their hearts and positively receive it. That is the best thing about being an actress, and it what I hope for each project I do.