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The Mailer Review/Volume 3, 2009/Editing Mailer: A Conversation with Jan Welt and Lana Jokel: Difference between revisions
The Mailer Review/Volume 3, 2009/Editing Mailer: A Conversation with Jan Welt and Lana Jokel (view source)
Revision as of 15:22, 27 June 2021
, 27 June 2021→Lana Jokel
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I asked him why he hired me to edit, considering I had virtually no experience. He told me that he liked my intuition and also the fact that I didn’t go | I asked him why he hired me to edit, considering I had virtually no experience. He told me that he liked my intuition and also the fact that I didn’t go | ||
to film school so I wasn’t bogged down by rules. He also said he liked my | to film school so I wasn’t bogged down by rules. He also said he liked my | ||
‘nimble oriental fingers’ (''laughs'') | ‘nimble oriental fingers’ (''laughs''). | ||
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Jokel: I was very fortunate that Norman let me edit certain scenes, but it | Jokel: I was very fortunate that Norman let me edit certain scenes, but it | ||
could be frustrating because he was so articulate about what he wanted. I’d suggest a way to cut a scene and he would go on and on about how he thought it should be done. It got to the point where I just looked at him and said ‘Norman you are so articulate and I am just the opposite. You’ll always win in the argument, but my instincts tell me that we should ....’ More often than not, Norman would tell me the way he wanted a scene to work and then | could be frustrating because he was so articulate about what he wanted. I’d suggest a way to cut a scene and he would go on and on about how he thought it should be done. It got to the point where I just looked at him and said ‘Norman you are so articulate and I am just the opposite. You’ll always win in the argument, but my instincts tell me that we should ....’ More often than not, Norman would tell me the way he wanted a scene to work and then | ||
afterwards turn to me and say ‘Ok, let’s try it your way. | afterwards turn to me and say ‘Ok, let’s try it your way.’ We were dealing with | ||
so much material that initially it was chaos. The first thing we did was to | so much material that initially it was chaos. The first thing we did was to | ||
watch all the rushes. That took awhile because there was close to forty hours | watch all the rushes. That took awhile because there was close to forty hours | ||
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'''Jokel:''' After Heat, I was editing again for Michael Blackwood. He had a connection at a German television station, who commissioned him to make a | '''Jokel:''' After Heat, I was editing again for Michael Blackwood. He had a connection at a German television station, who commissioned him to make a number of documentaries. Michael asked if I had any ideas and I told him that I would love to make my own film on Andy Warhol. We presented a proposal to German TV and Michael got us the money. Since I had access to Warhol, it all seemed to make sense. The only problem was I’d never directed a film before. When you are very young, it’s amazing how fearless you are. I was convinced I could do it so I went ahead. I hired a great cameraman in New York, Mark Woodcock, who worked with Pennebaker. I went with Andy, Paul and Jed to Cannes for the premiere of Heat and took my own camera, a non-sync, handheld, 16mm Cannon Scoopic. I filmed our entire European trip and used a little tape recorder on the side to capture our conversations along the way. I edited together all of this wild footage I shot, alongside the material Mark shot in New York. Many people still think it’s one of the best documentaries on Andy because I was able to get him to | ||
number of documentaries. Michael asked if I had any ideas and I told him | |||
that I would love to make my own film on Andy Warhol. We presented a proposal to German TV and Michael got us the money. Since I had access to Warhol, it all seemed to make sense. The only problem was I’d never directed a film before. When you are very young, it’s amazing how fearless you are. I was convinced I could do it so I went ahead. I hired a great cameraman in New York, Mark Woodcock, who worked with Pennebaker. I went with Andy, Paul and Jed to Cannes for the premiere of Heat and took my own camera, a non-sync, handheld, 16mm Cannon Scoopic. I filmed our entire European trip and used a little tape recorder on the side to capture our conversations along the way. I edited together all of this wild footage I shot, alongside the material Mark shot in New York. Many people still think it’s | |||
one of the best documentaries on Andy because I was able to get him to | |||
open up and talk in front of the camera, which was unusual for him. | open up and talk in front of the camera, which was unusual for him. | ||
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