Molly Malene Stensgaard
Molly Malene Stensgaard is a Danish editor who works in both fiction and documentary. She worked for five years as a production assistant at Nordisk Film before she was accepted into The Danish Film School (Den Danske Filmskole). After graduating from their editing program in 1993, she worked as an assistant editor to Camilla Skousen. Stensgaard’s first credit as chief editor of a feature film came a few years later with Danish director Astrid Henning-Jensen’s last film, Bella min Bella.
She began her long collaboration with Lars von Trier in 1994, editing eight episodes of the TV show The Kingdom. She has since edited seven of his films including The Idiots, Dancer in the Dark, Dogville, and Nymphomaniac Vols. I and II.
Stensgaard has also worked for Annette K. Olesen and Ole Bornedal and won Best Editor for Borgman’s The Weight of Elephants at the New Zealand Film Festival. In 2015, she received the oldest Danish film prize–the Bodil Prize, awarded by the Association of Film Critics.
“The film is always the main thing to consider, and if it’s a film where a disturbing, visible language of editing is the right thing to do for the film, then it’s the right thing to do. However, for another film, you might not even recall seeing a cut afterwards. It completely depends on the film…It’s important to distinguish that it’s not the editor’s language, it’s the film’s language. An editor having a language is not interesting. It’s the film that has the language, and you have to adapt to that. Always.”
“For me, it’s very important to try and create moments on the screen. Moments that feel truthful; authentic. But also the shift between that to something that feels like it’s moving forward, feels efficient, is actually the great dynamic of filmmaking. That’s very important to work on in the edit: to make time stand still, and then to make it really move.”
— Two excerpts from an interview with Stensgaard, “Dancer in a Dark Editing Suite.” The full text can be found in the Appendix.
No birth date available.
As a documentary film editor, Enat Sidi is a frequent collaborator with directors Heidi Ewing and Rachel Grady, editing most of their feature films including The Boys of Baraka (an Emmy nominee), Jesus Camp (an Oscar nominee), 12th & Delaware (a Peabody winner), and DETROPIA (Sundance Best Editing award). Sidi has also edited for Ellen Kuras and Jennifer Vendiiti, and she edited The Wolfpack, the 2015 Grand Jury Winner at Sundance.
No birth date available.
Mary Lampson is a documentary editor and filmmaker who edited Barbara Kopple’s classic Harlan County, USA, (with co-editors Nancy Baker, Mirra Bank and Lora Hays) and edited three films for Emile de Antonio (Millhouse, Painters Painting and Underground). Other films include Trouble the Water by Tia Lessin and Carl Deal, Queen of Versailles and Generational Wealth by Lauren Greenfield, This Changes Everything by Avi Lewis and Naomi Klein, and The Islands and the Whales by Mike Day. Lampson produced and directed Until She Talks and twenty-five short live-action films for Sesame Street.
“Any great documentary doesn’t do B-roll. I almost refuse to use that term because it’s so against what actually making a film is. It’s such a TV journalism approach, in which you lay down the voice-over and cover it with “wallpaper”—that is, images. There’s no tension between the images themselves and the ideas expressed by the words. To me that tension is what makes a movie. It’s taking two things that don’t necessarily belong together and making something that does to elicit a response from the viewer.”
— “Revolutions in Storytelling, from Underground to Citizenfour,” Interview by Marisa Mazria Katz. The full text can be found in the Appendix.
“In some ways I think the films we make are like the Foreign Service life I lived [growing up]. Each time you move, or start a new film, you enter a different world. Everything is strange. The smells are different, the sky is different. Everything is new and you don’t understand the way things work because all the rules are different, too. Then little by little, because you have no other choice, you start to make sense of the chaos. You understand something and you’re exhilarated; and then you realize you understand nothing and you’re depressed. This cycle of despair and exhilaration happens time and again as you begin bringing things together until finally you find connections and uncover the logic of the place. And then you move on. You pack up your stuff, get on a boat, and you’re off again to a new place which will be home for the next four years. Then four years later you move again.”
“My favorite post-it is the one I wrote that says ‘FUCK exposition’—the place I think you should never start. I’m suspicious of perfection when it comes too fast and I’m also suspicious of happy endings.”—Two excerpts from “The Art of Editing,” a Sundance Institute lecture by Mary Lampson. The full text can be found in the Appendix.