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Anatomy of a Fall: The Editing Secrets Behind the Film's Success

2024-02-23T12:03:42.222Z

Highlights: Laurent Sénéchal is the editor behind the success of Anatomy of a Fall. The film won two Golden Globes in January and a Bafta on Sunday February 18. At the Césars, Justine Triet's film is nominated in 11 categories, including best editing. “Justine is completely obsessive, editing is one of the most essential places for the staging of her film, he smiles.“It’s a luxury to be able to make a film where editing is so important,” recognizes Laurent Sénéechal.


At the Césars, Justine Triet's film is nominated in 11 categories, including best editing. The prize honors a shadowy profession which nonetheless remains essential.


“Justine is completely obsessive

. ”

Laurent Sénéchal, the editor behind the success of

Anatomy of a Fall

, told AFP behind the scenes of this film with an extraordinary destiny.

After winning two Golden Globes in January and a Bafta on Sunday February 18,

Anatomy of a Fall

is tackling the Césars, where it is nominated in 11 categories, including best editing.

The prize honors a shadowy profession which nonetheless remains essential.

The producers of

Anatomy of a Fall

have also agreed to devote 38 weeks to editing the film.

An exceptionally long time by industry standards.

“It’s a luxury to be able to make a film where editing is so important

,” recognizes Laurent Sénéchal.

Justine is completely obsessive, editing is one of the most essential places for the staging

of her film, he smiles.

Also read: The shadow of Judith Godrèche, the predictions and an air of revolution... The challenges of the César ceremony

Eight months of filming during which the director and her editor, both aged 45, exchange ideas, work together and above all, complement each other.

“This is the third film we’ve made together.

The more we practice, the more we know ourselves, the more certain things become obvious

,” continues Laurent Sénéchal, who also worked on all the films of the director’s companion and co-writer, Arthur Harari.

From the 130 hours of rushes of a project initially conceived as a series, what will ultimately remain is a feature film lasting 2h32, cleverly constructed around a trial and flashbacks of the life of a couple who explode.

“We’re going to the market”

During editing,

“some directors work on a first draft”

, a sort of draft which allows you to form an initial idea.

With Justine Triet, on the contrary,

“everything goes through acting.

She starts from the shots, and the material, to see where that takes her.”

“It completely derails her when she sees something played badly

,” he jokes.

So we go all the way together, which takes a lot of time.”

“We go to the market to watch the rushes and we cook from this market

,” explains Laurent Sénéchal.

It was a lot of work, a lot of action, but we were never lost.

It was joyful.”

Also read: Anatomy of a fall: the path clears for the Oscars

As complex as it is fine, the film examines the relationships of domination within the couple, gender issues, the workings of justice, the view of society, that of children... But to realize is also to give up .

“We had a lot of extra material

,” he confides.

It was planned that the press would be like an additional character, with journalists filming.

We really reduced that because it became too complex.”

Happy to see his profession highlighted, Laurent Sénéchal however thinks that the editor should not leave

“his signature”

on the film.

“It’s a job of adaptation, we are story tellers, midwives who accompany”

the filmmaker.

Is he afraid of being replaced one day by artificial intelligence?

He admits to having been amazed by the small sequences automatically generated by his smartphone from his videos and thinks that the tool will be used as an assistant within ten years without us being

"anymore surprised"

.

But nothing will replace humans, he hopes:

“If we entrust the rushes of

Anatomy

to a computer, we won’t have the same film!”

Source: lefigaro

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