17th Berlinale Talents | 2019
UK based film editor with experience in documentary, fiction and animation.
Hi Selina thanks for talking to TNC, you all set for the Berlinale?
No, I just got back to the UK after an intense work month in Sweden. So now I can get the last things ready and prepare myself for an exciting, intense and rewarding time at Berlinale.
Are there any nerves ahead of the festival?
No, not now. I’m excited.
What does it mean for you to be part of the 17th edition of Berlinale Talents?
I’m honoured and grateful for being selected. It gives me a great opportunity to meet colleagues and future collaborators from all over the world.
What do you hope to get from this experience?
Meaningful connections for exiting collaborations. New insights and working methods and inspiration that will influence my work. I look forward to experience and discuss the projects we are working on and share ideas and approaches to filmmaking with my fellow participants. I hope to learn new insights and approaches that will develop and improve my work.
Can you tell me a little bit about your work, what was it about editing that interested you so much?
I started out making shots documentaries as a one-man team. Quickly I fell in love with the editing process and the endless possibilities it provides to tell stories in an engaging and accessible way.
Editing films gives me the opportunity to learn and go into dept of how we behave and relate to each other. I love the discussions in the editing room this brings up. Often it get very deep and personal quickly. I see it as very rewarding to work in both fiction and documentary as both challenges my way of thinking in different ways.
"I love moving image I think it’s the ultimate art-form."
What attracts you to a project?
The story, the need for the story to be told and the persons telling it.
What was the first film you were part of?
The short documentary Bread and Freedom. The film that opened my eyes to the wonderful world of editing.
What are some of the biggest challenges an editor might face on a production?
Miscommunication and misunderstanding.
Have you always had a passion for film?
When I was younger I spent most of my free time working with horses. But I have always practised the art and different kinds of crafts. Creative work in many forms as painting, sculpting, making jewellery, working with fabrics, playing music. I went to a Waldorf school were for every subject we are given a blank book. It’s then our job to fill this book with texts and drawings that in our own words explain what the subject is about. A lot of the teaching was based on storytelling and working with your hands. I believe it has had a profound impact on me as a storyteller today.
How important is the collaborative process in filmmaking for you?
I believe it’s one of the greatest asset we have. A good collaboration can add so much value to a film project. It makes us better than when limited to our own ideas and if working well so much more enjoyable. It a great reminder to embrace the challenges and stay open minded.
How much has your approach to your work changed since you started out?
When I started I had the idea that I had to spend all my awake time in the editing room to be a great editor. Today I see the great value and even necessity to have time and experiences away from the editing room in order to give myself the best opportunity to be creative and come up with ideas that will improve my work.
What are you currently working on?
My debut feature as a director The Art of Loving your Mother. I'm also involved as editor of a couple of projects that are in different stages.
And finally, do you have any advice or tips for any up and coming editor?
Take care of yourself and study life, not just films.