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)

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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
 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'').
 <br>
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 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
-afterwards turn to me and say ‘Ok, let’s try it your way.’We were dealing with
+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
 watch all the rushes. That took awhile because there was close to forty hours
@@ Line 586: / Line 586: @@
 <br>
-'''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.
 <br>