Sylvie Gadmer

France

8 Chapters

Synopsis

Sylvie Gadmer reflects on the intimate dance between time and story. For her, cinema is not just a profession, it’s a way of embracing life itself. As an editor, she embodies the essence of the film, weaving through its characters and moments like a silent director. It’s not about imposing ideas, but about deeply listening to the director’s vision, shaping the narrative without overshadowing its soul. Editing becomes a space where stories unfold in their purest form, where human connections transcend the frame. This delicate balance between intuition, collaboration, and patience reveals the profound journey of creation: a complex and silent art that captures the very heart of the film.

Chapters

1.
Why are you making films?
2.
What drew you into editing?
3.
What's the distinction between editing fiction and nonfiction?
4.
What qualities does a project need to have before you want to edit it?
5.
What distinguishes working with a director for the first time from working with them again?
6.
Do you prefer working alone or along with the filmmaker?
7.
What happens when your vision differs from the filmmaker's?
8.
How are deadlines and film financing influencing your work as an editor?

Bio

Sylvie Gadmer trained at the Sorbonne Nouvelle and began her film career in 1983, working as an assistant editor on the French television series "With Rose and Revolver." Throughout her career, she gained experience in various roles, including assistant director and sound designer. In 1992, she worked as an editor on Anne Fontaine's film "Les Histoires d'amour finissent mal en général," which won the Jean Vigo Prize at Cannes. In 1996, she participated in a film project at Atelier Varan in Cambodia, which sparked her interest in documentary filmmaking. In 2004, she co-founded Ateliers Varan Vietnam with André Van In.