Although many people have encountered filmediting in the last decade through software on their laptops and homecomputers, there’s still a lot of misunderstanding about what a professional filmeditor actually does. It is not a more sophisticated version of “cutting out the bad parts” which defines most of the homemade films but the more intricate sensibilites of telling an engaging story with picture and sound. This might be a God-given talent but reality teaches us that experience is an undeniable ingredient in the make-up of a successful filmeditor. Experience comes with years of success and failures, highs and lows and the deliberate application of the lessons learned, never letting go and the unrelentless persistence of a long distance cyclist (that’s actually what I do to keep fit).

Storytelling has always featured big in my life even before I fell in love with film and a kind of parallel calling as an editor for magazines proves this. Filmediting has been called the final rewrite of a filmscript and the comparison with writing is clear when you equate the writer’s words with the pictures used by the filmeditor. Writing the story with words or finding the story with pictures are two interchangeable talents I have used throughout my film career in all available formats from live action to animation, from commercials to music videos and from shorts to full length features. I also covered these formats in all imaginable genres from feature films to documentaries, from comedy to tragedy, from period to contemporary, from action to thriller and from fast paced to contemplative. Working for the first half of my career in Europe and the second half in California combined with my language skills makes me a very versatile professional who can connect with a wide variety of personalities and projects.


As you become a more experienced editor you can easily grasp the merit of footage. As a young editor you rely havily on the the known factors and laws of filmediting but as you have gone through many films, your rigid theoretical filmediting anchor transforms into the more intuitive side of creativity and you are freed up to do whatever works. This means also that as a veteran filmeditor I often serve as a “film doctor” to help stranded productions move forward: three of the credits on my IMDB resume of the last few years were projects that I took over to coax them completion.