To mark the 21st anniversary of the IFTA awards, we are showcasing Irish talent who are blazing a trail across our industry, working in front of and behind the camera.
Hosted in association with IFTA, this Q&A Series connects with Irish talent who represent a range of disciplines across our industry.
We find out about their approach to craft, working on the projects they’ve been nominated for, and the best piece of advice they’ve been given in their career.
Weronika Kaminska is nominated for Best Editing for Lies We Tell. This is Kaminska’s first IFTA nomination. Her previous editing credits include Blackbird, and she was the assembly editor for Son and The Sparrow.
IFTN: Tell me about your experience working on this project, and your collaboration with the director.
WERONIKA: “In the past I worked with Lisa Mulcahy on a number of projects as an assistant and assembly editor. When Lisa approached me and asked if I would like to edit her movie, I didn’t think twice. From the moment I began reading the script, I was drawn to Maud's story. It was always my dream to edit a period piece as it’s my favourite genre.”
IFTN: How do you approach each new project, and what is your process?
WERONIKA: “Starting a new project for me is like entering a new world that I live in for a while. With Lies We Tell, it was Maud's world: her journey, her emotions and struggles. Essentially it then becomes my journey that I go through within the time of the edit.”
IFTN: How would you describe the editor's role in terms of storytelling?
WERONIKA: “I think the editor's role is massively creative, a few small edit changes can alter the mood or how the viewer perceives the character.”
“An editor is like a weaver who carefully threads the fabric of cloth together, with the outcome depending on the quality of the material. With Lies We Tell I was very lucky to get a well written script, fantastic footage to work with and great direction from Lisa.”
IFTN: How do you maintain tone and pacing throughout an edit?
WERONIKA: “I think for both Lisa and I the most important aspect of the editing process was to make sure we were telling Maud's story. We had to ensure she was very present throughout each scene.”
“We used a storyboard which contained an image from each scene in order to help us maintain clarity.”
“It's also very important for me to make sure there is enough breathing space, so the audience has a moment to reflect.”
IFTN: You often hear about things clicking for a film in the edit. Was there any moment on this project in particular when the editing made a major change to the project?
WERONIKA: “Yes, there was one scene towards the end of the movie that took me several passes and we weren’t happy with the outcome. In the end Lisa decided to cut it and, to my surprise, the end section worked so much better without it.”
IFTN: How did you first get into editing professionally, and what have you learned through your experiences that would be of use to aspiring editors?
WERONIKA: “I started working as a runner in Egg Post Production. I then moved on to an assisting role, where I met and worked with fantastic editors. They taught me the editing craft. I think with hard work and enthusiasm anyone can achieve a lot!”
IFTN: What is the best piece of advice you’ve been given in your career?
WERONIKA: “To always triple check your work! It was the best advice given to me by the fantastic editor, Gráinne Gavigan.”
