So you can imagine what happens to the immigrants or refugees who need medical attention. “Because of the economic crisis in Greece, it’s very difficult even for Greek people to get medical attention. “When they go to the hospital, sometimes the doctors refuse to check them in because they can’t communicate,” he said, stressing that the dire economic situation in the country adds another layer to refugees’ problems. After taking stock of the needs of refugees, Shame and three others started a cooperative hotline in Thessaloniki to act as a bridge for refugees, called the Refugees to Refugees (R2R) Solidarity Call Center. As soon as he realized how his language skills could help others, he went to work. Ramez Shame, who is a refugee from Egypt, speaks both Arabic and English, which is a second language for many in Greece. These tasks can be extremely difficult for refugees in Greece, the majority of whom only speak Arabic. One of the most basic needs, after feeding oneself, is to be able to communicate - to be able to ask for help, to go to the doctor, to get a lawyer, to know your rights, to get out of the refugee camp and to work in a new country. Refugees arriving in Greece have found themselves forced to organize in order to survive. (Facebook/Refugee Solidarity Movement Thessaloniki-Eidomeni)
It is the director’s vision that we work with, and it is this vision that we discuss when figuring out how to communicate it.Refugees at a camp in Greece. These conditions are necessary for the entire working relationship between director and editor. I make it a principal not to work on films where the director doesn’t have 'final cut.' I always edit the director’s film – not my own. "Filmmaking is a collective artistic process, but I believe there can be only one overriding artistic vision – the director’s. Pagh Andersen emphasises the editor's importance in the creative process in helping the director get closer to his or her vision: If they are thinking about the editing, this is a sign that something isn’t working in the film," writes Pagh Andersen in his book.īut while the editing in the final film should be invisible, the role of the editor should not.
Viewers shouldn’t be thinking about the editing when they see a film they should experience it.
The editor’s task is to strengthen all visible elements in a film – the images, the characters, the story – and to remove weaknesses. "For the most, a film editor’s work remains invisible to the audience, because it is just as much about what we cut out as what remains in the film. 'Order in Chaos' comes in hard copy and as an e-book giving access to film clips and conversations. Few in the theatre praise or even notice a good edit in the same way as you would, say, applaud striking images. In his book he stresses the importance of editing and how the editor is vital in a film's potential success.įor most audiences, says Pagh Andersen, the editing of a film is a hidden element. Niels Pagh Andersen is pivotal in helping drive the success of Danish documentary film in the past decades. Now he is ready with his new book, 'Order in Chaos', about the art of editing, where he shares personal perspectives and practical knowledge based on his long career working, mostly, on documentary films.
See full list of Danish films at IDFA 221.The leading documentary film festival in Amsterdam takes place 17-28 November. Niels Pagh Andersen will be presenting his new book, 'Order in Chaos', and sharing insights, inspiration and practical knowledge on the art of editing documentaries in conversation with artistic director Orwa Nyrabia.