Scriptwriting for documentary films ends in the editing room. At this point, the filmed material or compiled archive has become unique, and it must be revealed as new material in order for the film to be completed. Thus, viewing and listening to the material, step-by-step rewriting in editing, and the dialogue between images and sounds allow us to create various versions of the film that evolve over time. The process that leads to the final cut is undoubtedly laborious and complicated.
In this chapter, director Lynne Sachs, editors Diana Toucedo and Sylvie Gadmer, and others talk about the editing process in documentary filmmaking. They explore how they prepare and organize material, whether starting from a script, building sequence by sequence, or working with a loose structure that takes shape over time. The conversation moves into the interplay between image and sound. They also discuss working with archive footage, color, and graphics, and knowing when the film is finished. Through their experiences, they share how feedback from collaborators and producers helps guide them toward the final cut.
