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Cold War's archive footage accompains
the young Luciana's trials and tribulations
in a colourful and naive Rome of the late 50's.
Film Editors know how often a Production calls them to “take a look” at a project which isn’t working, even after months of work and the pressure of an approaching deadline. This usually happens when the decision was made to give the project to someone who is an efficient and skilled software user, but who lacks a real understanding of what film making is about.
And this decision has cost time.
An experienced Film Editor is trained to see the flaws in your project that you’re too deeply involved in it to see. Better still, a Film Editor can see possibilities that you may not have even seen in your story. He or she will analyze every image and every line and show you a multitude of new ways to achieve your desired result, all from a position of totally impartiality.
A Film Editor is a professional with a deep understanding of visual storytelling, narrative structure and cinematic strategies. He/She will look at every project and consider its ultimate potential, beyond any genre or format, for either authorial or commercial purpose.
The Film Editor is not a software operator.
Machine and softwares are tools we use to shape contents.
I am a Film Editor.
Every Editor has their own approach. Here is mine.
Feature and Short Movies / A story is a building wanting to be inhabited. My job is to view the plans and find a way to rebuild the script with the images and sounds I receive. I’m trained to construct, tweak and correct the structure, looking for the best – often the unexpected – ways to use the material, the narrative and the character’s arcs, thus bringing life, energy and colour into the story.
Documentaries / I collaborate with every kind of documentary production, from independent films with a huge scope for experimentation, to regular TV-proven format for international broadcast. “Whose story is it?” is a question that guides every movie, especially a documentary. I can deal with a huge amount of material, discerning how to present a character, deciding what serves their story and what is just a small fact instead.
Commercials / Only a few Film Editors work in advertising. In a production workflow which involves various parties, from marketing departments to agencies, the project often needs to be forced into its final phase, where the pictures are assembled and finalised. I have a wide range of technical skills in post-production, and experience in the advertising production process. I believe a Film Editor is required within in a campaign if it is to have an outstanding cinematic quality, more effective visual storytelling and utter precision delivering its message.
Videoart and Installations / I work with videoartists and I collaborate with Institutions and Festivals specialized in experimental cinema. Everything that has a temporal development is somewhat narrative, without excluding any kind of approach, language, and intention. Consulting a Film Editor with a proper experience allows the artist to maximise the potential of motion pictures in all aspects – formal, linguistic and technical.