Veronika Jenet, ASE
No birth date available
In 1975 Veronika Jenet, ASE (*) left her job as a German civil engineer and moved to Australia, where she spent several years living in tents with friends as she explored and filmed her new home using a Super-8 camera. Jenet’s interest in filmmaking led to a long collaboration with director Jane Campion. With credits listed under the name Veronika Haeussler, she did the sound-editing on A Girl’s Own Story and was editor on Passionless Moments, Sweetie, and An Angel at My Table. In her work after that, as Veronika Jenet, she two more of Campion’s films, The Portrait of a Lady and The Piano, for which she received Oscar, BAFTA, 20/20, and Eddie nominations. Jenet has continued working with Australian directors such as Rachel Ward (Beautiful Kate) and Cate Shortland (Lore), and her work has received numerous Australian film industry accolades including two Australian Film Institute Award nominations and four AFI wins (for The Piano, Curtis Levy’s Hepzibah, Elissa Down’s The Black Balloon and Justin Kurzel’s The Snowtown Murders, aka Snowtown), two Inside Film Award nominations and three IF wins (for Snowtown, Philip Noyce’s Rabbit-Proof Fence and Claire McCarthy’s The Waiting City), and two Australian Screen Editors Awards nominations and one ASE win (for Ray Quint’s Bastard Boys mini-series).
(*) ASE, the Australian Screen Editors guild, was founded in 1996 and is “dedicated to the pursuit and recognition of excellence in the arts, sciences and technology of motion picture and televisual post production. It aims to promote, improve and protect the role of editor as an essential and significant contributor to all screen productions.”
“Even me, as an editor, I go and see a movie and I might look for the editing in the first five minutes. And let me tell you, if I’m still looking for and seeing the editing after ten minutes, I know it’s a turkey. You have to get lost in the story. I know it sounds airy-fairy but I do still believe that it’s an art form and that we create art. That is why we are doing what we’re doing.”
—“Veronika Jenet on the art of film editing” by Anne Fullerton. The full text can be found in the Appendix.