Katarina Türler (2/5)

Filmexplorer's Editing Collection | Season 1 (2/5)

The episode has been produced in collaboration with the Solothurner Filmtage

 

Discussion with Katarina Türler

 

If the work of the editor can be considered akin to the one of midwives then Katarina Türler would be the best example of the art of maieutics. For the Swiss-Dutch editor the relationship with the director and the ability to listen to them is probably the fundamental skill for an editor. There are plenty of ways to tell a story and the task of the editing process is to find the best possible one for the vision of the director. However, the work of the editor is not just a subordinate to the one of the director but is highly creative – a living and organic process where the fingers feel around, accepting not to know where they are going and exploring new territories. The editor should be able to seek solutions at the margins – she says.

HEAR THE PODCAST:

 

More specific aspects of the discussion:

The methodology to start an editing project
The issue of the so-called “rough cut depression”
The question of how the accepted works can shape the career of an editor and create their expertise
Detailed insights on the special works on films like Gioia (Laura Stek, 2019), Berg (Joke Olthaar, 2022), and Matthew’s Laws (Marc Schmidt, 2012)

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Sound excerpts from Matthew’s Laws, by Marc Schmidt (2012); Farewell Paradise, by Sonja Wyss (2020); Berg, by Joke Olthaar (2022)

Katarina's Bio and Infos

Films screened in the section "Rencontre" at the Solothurner Filmtage 2023

Katarina's films on MUBI 

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