Beatrice Gibson (3/5)

Filmexplorer's Editing Collection | Season 1 (3/5)

Discussion with Beatrice Gibson

Beatrice Gibson recognises the influence of the modernist approach to composition in her artistic work. Showing the architecture of a composition becomes part of the film language, for which the concentration on editing will clearly be of enormous importance. This implies an active spectatorship, just like in the case of poetry.

In the making of editing she stresses how the interplay between control and chaos plays a fundamental role in the creative process. Even the self-imposition of some restrictions, such as the choice of the 16mm film, can be beneficial to this regard. In the context of the artistic practice, the editor is not the individual genius making art but a maker that takes advantages of the privilege – and the ethics – of slowness.


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Some specific aspects of the discussion:

Starting the work of editing: 2’20’’
Designing before shooting as form of editing: 4’56’’
The influence and advantage of putting restrictions, like choosing the 16mm film: 7’41’’
The act of editing is addictive and in the ideal conditions of artistic practice is time demanding: 9’25’’
The physical conditions for editing: 11’50’’
The question of intuition: 14’09’’
Using of thrilling moments and playing with expectations: 15’28’’
Involving people that the editor trusts to have suggestions: 17’17’’
Importance of sound in the creative process: 18’37’’
Using the visibility of editing and stimulating an active spectatorship: 20’49’’

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Sound excerpts from her films: The Tiger’s Mind (2012), I Hope I’m Loud When I’m Dead (2018), Two Sisters Who Are Not Sisters (2019)

Beatrice's Bio and Infos

Hear Filmexplorer's interview with Beatrice Gibson (podcast, 2016) about her film «Crippled Symmetries»

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