A portrait of the editor Andrew Bird

“Film editing was the solution to all my problems and the answer to all my questions,” says Andrew Bird when asked how he came to choose his profession. Yet this answer suggests that the path to it was not a straightforward one. He now sees himself as a “storyteller” in his role as a film editor. “I try to tell a good story by editing the existing footage. And ‘good’ for me means emotional, exciting, effective and visually interesting.”

Andrew was born in London in 1956. He initially studied German there before coming on a scholarship to Hamburg where he worked for a long time as a translator. “Until I realised that this was boring me. I wanted to do something new and creative.” He’d already had an affinity for film as a teenager, shooting Super 8 films as well as directing and acting in them – and also editing them. The latter was what he enjoyed the most. He then started working as an assistant editor with Magdolna Rokob.

Nowadays, Andrew likes to work alone. However, he is also involved from the script development stage on many projects. His work often begins long before the first cut. “Editing is a long process. It takes several months, sometimes up to a year or even longer.”

Andrew is usually part of the project on the films by the director Fatih Akin, even when all that exists is just an idea. “While we’re editing the one film, Fatih is then often planning the next one in his head, and we start talking about it.” Fatih and Andrew share a special bond; they have been working together for over 30 years. He has edited all of the director’s films, including HEAD-ON, THE EDGE OF HEAVEN, IN THE FADE and, most recently, AMRUM. Andrew received, amongst other honours, the German Film Award for Best Editing and the German Film Critics’ Award for THE EDGE OF HEAVEN.

Such a long-standing collaboration has its advantages. “Fatih and I speak the same language. I immediately understand what he’s thinking, and vice versa. And we can discuss what the one or the other likes or dislikes without any ego getting in the way.” However, there isn’t any set routine. “For me, it’s a stroke of luck that Fatih is a filmmaker who constantly explores new avenues in his subject matter as well as in his films. That’s right up my street.”

It’s something that Andrew also appreciates about his profession. Every film is different, just like every filmmaker. “Some directors want to be in the editing suite every day; others entrust me with the footage. Both ways are fine by me.” As an editor, he has always felt that his role is on equal terms and in no way subordinate.

Andrew much prefers to start editing during principal photography. As was the case, for example, with THE SEED OF THE SACRED FIG. The film’s production faced several difficult challenges. Director Mohammad Rasoulof shot in secret in Iran, while Andrew was based in Hamburg. Raw footage was sent to Germany at irregular intervals. Although Andrew knew the script, the film was shot entirely in Farsi, a language he doesn’t speak. “Sometimes, editing isn’t just about the language. I look for a kind of authenticity in the acting, something you see, for instance, in the actors’ eyes. That way you can edit without understanding the language.” Editing as storytelling in a special language.

Andrew is now back again at the Festival de Cannes with a film he edited in a language that’s foreign to him. ELEPHANTS IN THE FOG, a German co-production, will have its world premiere in the Un Certain Regard sidebar and was shot entirely in Nepali. “This was another special challenge in piecing a story together. And it’s another film that opened up a completely new world for me.”

Andrew’s hope for the future and his profession is not only about discovering new worlds, but that the world will pay greater attention to editors’ work of and show more appreciation of their achievements. “I’m personally fortunate to be able to work with prominent directors and to have edited films that have been seen by a great many people.” And then he adds with a wink: “We editors tend to be rather shy of the limelight. But it would be good if a little more light could be shed on our work.”

Angela Sonntag