Sally Potter Talks About Hervé Schneid

For Class #14

 Instructor: Norman Hollyn T.A.: Beth Moody
 Office: 310-821-2792 Phone: 323-472-1164

 E-Mail: nhollyn [at] cinema.usc.edu

E-Mail: elizabethmoody [at] gmail.com


Sally Potter directed TANGO, a film which French editor Herrvé Schneid edited.

Prior to DELICATESSEN, Hervé had worked on Lars Von Trier's visual tour de force, EUROPA, which won the Prix du Jury at the 1991 Cannes Film Festival, as well as the Grand Prix de la Commission Supériure Technique. He has since worked with a series of renowned directors, including Diane Kurys (APRES L'AMOUR), Mike Figgis (THE BROWNING VERSION), and Sally Potter (ORLANDO).

Hervé's partnership with the renowned team of Jean-Pierre Jeunet and Marc Caro, which began with DELICATESSEN, continued with CITY OF LOST CHILDREN, ALIEN RESURRECTION and, most recently the film which is called AMELIE in its American release.

The following are notes by Sally Potter from the Sony website for TANGO.

Check, in particular, the highlighted areas.

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I had the privilege of working with Hervé Schneid on Orlando and it had proved to be a stimulating and productive working relationship. We had already had a common understanding -- born of the weeks and weeks an editor and director spend together in a cutting room.

Like all great editors, Hervé has the skill to help the director come to terms with the film he or she has really shot, and say good-bye to the film he or she had previously imagined. He has a ruthless objectivity combined with a great sensitivity to the writer/director's sense of purpose. We cut the film on Avid (the first time for me) and we tried to capitalize on its great strengths, whilst avoiding its pratfalls. The strengths are the capacities, if correctly used, to get very deeply into your material and subject matter (and, as a director's tool, to work on the through lines of themes within the film as a whole rather than, as on 35mm, being locked into working on one reel at a time).

Hervé also had the unenviable task of witnessing my ambivalence about looking at my own image. During the shoot I resolutely refused to consider my appearance (anyway, I didn't have time to and was much more interested in looking at Pablo) but in the cutting room I had to face, among other things, the reality of how I looked on screen.

Hervé cut many of the scenes with extraordinary fluidity, inventiveness and musicality. And, as usual, his instinctive approach with the storytelling is to be lean and to the point.

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