Beyond the Screen

"WHEN WE WERE SISTERS" will celebrate its world premiere at the Zurich Film Festival on October 6. How did you come to work with director Lisa Brühlmann?

Producer Reto Schärli at Zodiac Pictures introduced me to Lisa. We talked about the script and the characters and then decided to work together. WHEN WE WERE SISTERS is my third collaboration with Zodiac Pictures. Manuel Hendry Flury‘s PAPA MOLL was the first film I edited for Zodiac, 2020 followed by Bettina Oberli’s WANDA, MEIN WUNDER.

How did you get into the film business?

I ended up in film by chance. In 2002 there was an ad in the newspaper for a casting call for a feature film. My neighbour had applied, and I thought it was a cool idea, so I submitted an application as well and was invited to the casting. I eventually got a role in the comedy ACHTUNG, FERTIG, CHARLIE, which Reto Schärli and Lukas Hobi produced at Zodiac Pictures. In other words, I’ve been working with them for over 20 years, starting in front of the camera and now behind it.

It was also back then that I met two of my closest friends in the film industry: Michael Koch and Nicolas Steiner. I was fortunate enough to work with Nicolas on a number of films, including the documentaries KAMPF DER KÖNIGINNEN and ABOVE AND BELOW.

How would you describe your working style?

The directors I’ve worked with can answer that question better. But I would say that I work the way I go through life: with open eyes and ears and with as little preconception as possible. That way, you’re always surprised.

You’re currently working on "DO YOU BELIEVE IN ANGELS, MR. DROWAK?" Did it take a lot of convincing for the project?

No, no – not at all! As I mentioned, I have a long friendship and creative collaboration with director Nicolas Steiner.

What other projects are you currently working on?

I’m also currently editing the new film by German director Thomas Stuber, DER FROSCH UND DAS WASSER. I have worked together with him for several years, beginning in 2018 with IN DEN GÄNGEN and that led to HAUSEN, DIE STILLEN TRABANTEN and SPUK UNTERM RIESENRAD.

How do you decide which projects to take on?

For me, the script and the director are the most important factors. If my gut feeling is good, I’ll take it on.

Is editing something you prefer doing alone or can you imagine editing a film as part of a team?

I’ve already had the opportunity to work with a team twice. Once on the series HAUSEN and then on DIE STILLEN TRABANTEN. On both projects, I worked with Julia Kovalenko, a former fellow student from my time at the Filmakademie Baden-Württemburg in Ludwigsburg. Collaborating with her was very instructive and inspiring. In addition to her technical expertise, from which I was able to benefit, the discussions about the work in terms of content were also very valuable. I found the teamwork to be a very down-to-earth experience. You have to put your own vanity aside and focus on the task. It’s a very good thing.

Which of your many editing works has a special place in your heart?

All of them! There is a lot of blood, sweat and tears in every film. That’s why all films are equally important to me – no matter what path a film takes.

Is there anything you do differently today than you did at the beginning of your career?

I have become better at pacing myself. But otherwise, I think it’s important to approach each film as “impartially” as possible; to forget everything you’ve known so far and to fully engage with the material. I’m convinced that every film is to be found in the material; you just have to immerse yourself in the journey.