Once committed to fight, cut. Everything else is secondary. Cut. That is your duty, your purpose, your hunger. There is no rule more important, no commitment that overrides that one. Cut. Cut from the void, not from bewilderment. Cut the enemy as quickly and directly as possible. Cut decisively, resolutely. Cut into the enemy's strength. Flow through the gaps in his guard. Cut him. Cut him down utterly. Don't allow him a breath. Crush him. Cut him without mercy to the depths of his spirit." -Richard Rahl
When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.
Perseverance. I got cut twice. I got cut in Charlotte. I didn't have to go to Atlanta to audition. I could have said, "I'm not cut out for this." But I said, "I think I'm better than that, I can go try again." So I went to Atlanta and I made it through. Then I got cut the first time around. I could have told them I didn't want to come back for the Wild Card show but I did and look how far I got.
Cut off my head, and singular I am, Cut off my tail, and plural I appear; Although my middle's left, there's nothing there! What is my head cut off? A sounding sea; What is my tail cut off? A rushing river; And in their mingling depths I fearless play, Parent of sweetest sounds, yet mute forever.
Thomas B. Macaulay
Now, tell me how you're going to teach the history of Jefferson, and cut out all those quotes and cut out all these facts, and cut out the key line of the Declaration of Independence: We are endowed by our Creator. I mean you have to have a conscious deliberate censorship of America, which is what the left and the courts and the classrooms has had for 40 years.
If you say, 'I'm going to cut this song because I know the teenagers are going to love it,' well, then you're going to alienate everybody else. When I cut my record, I'm just going to cut the things that I like, and whoever likes it, likes it. That's too much work to try to figure out the demographic. That's too much like a business.
The last start of spring training, my (cut fastball) was okay. It just wasn't what I wanted it to be. I tried to work on making it cut more and do more. I think that set (the forearm) off ... trying to make it move a lot, cut a lot. I'm just going to back off and trust it a little bit more and not try and push that.
Most of the movies are working like, 'Information, cut, information, cut, information, cut' and for them the information is just the story. For me, a lot of things [are] information - I try to involve, to the movie, the time, the space, and a lot of other things - which is a part of our life but not connecting directly to the story-telling. And I'm working on the same way - 'information, cut, information, cut, ' but for me the information is not only the story.
I think Miss Moore was right to cut "The Steeple-Jack" the poem seems plainer and clearer in its shortened state but she has cut too much... The reader may feel like saying, "Let her do as she pleases with the poem; it's hers, isn't it?" No; it's much too good a poem for that, it long ago became everybody's, and we can protest just as we could if Donatello cut off David's left leg.
The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."
I'm a huge fan of director's cuts or reassemblies if they're good, but I remember being really excited about the restored version of Apocalypse Now, and then I preferred the original film. Kingdom of Heaven as a director's cut is the real picture, but in fact someone recently told me that there was another cut, the original first cut, which he said was just extraordinary. I've never seen it - and of course now I want to, if it exists, and so would everybody else.
Where do we end, and what is the self? You cut off your arm, you're still yourself. You cut off two of your arms, you're still yourself. You cut off your arms and your legs, you're still yourself, right? Also, the idea of the self seems to be embedded right around here, right around the eyes. Infants know to look at the eyes.
The primary thing when you take a sword in your hands is your intention to cut the enemy, whatever the means. Whenever you parry, hit, spring, strike or touch the enemy's cutting sword, you must cut the enemy in the same movement. It is essential to attain this. If you think only of hitting, springing, striking or touching the enemy, you will not be able actually to cut him.
In my mind, past, present and future became a blur as I stood in the middle of the celestial room, in the middle of forever. It was as if I were to take a rope that went on forever in both directions and cut it anywhere then the cut would always be exactly in the middle. And if I cut it twice I would have a beginning and an end, but eternity would continue in both directions.
We are a cut-and-paste culture. The aim of the protectionists is to argue that a cut-and-paste culture is criminal. Well, it's only criminal if there's nothing out there that you can freely cut and paste. If we increasingly mark material as available for these non-commercial uses, then people will have the opportunity to see its importance.
Someone came up to me and told me that [his opponent's] knee was hurt, and he said to me, attack his knee, I'm like, 'Yeah right, I'm not going out to attack this guy's knee.' It just doesn't ... it's not realistic to go after his injury, unless they got a cut the same week, then it's like, yeah, hit him in the eye, because the [expletive] is going to re-open and now you wouldn't fight on the cut. Maybe on a cut you want to take advantage of it, that makes sense.
Back in grade school, my shrinks tried to channel my viciousness into a constructive outlet, so I cut things with scissors. Heavy, cheap fabrics Diane bought by the bolt. I sliced through them with old metal shears going up and down: hateyouhateyouhateyou. The soft growl of the fabrics as I sliced it apart, and that perfect last moment, when your thumb is getting sore and your shoulders hurt from hunching and cut, cut, cut... free, the fabric now swaying in two pieces in your hands, a curtain parted. And then what? That's how I felt now, like I'd been sawing away at something and come to the end and here I was by myself again, in my small house with no job, no family, and I was holding two ends of fabric and didn't know what to do next.
I think I have an obligation, to the people who have consented to be in the film, to make a film that is fair to their experience. The editing of my films is a long and selective process. I do feel that when I cut a sequence, I have an obligation to the people who are in it, to cut it so that it fairly represents what I felt was going on at the time, in the original event. I don't try and cut it to meet the standards of a producer or a network or a television show.