This is our interview with Eric Schefter. Eric received a B.A. in Film and Video from NYU in 1987. He then began working professionally as an editor in film and television. In addition, in the early 1990s he co-founded four intermedia performance groups in New York, including „77 Hz“ and „The Luminists“, which combined video imagery, electronic music and theatrical elements to create precise live A/V compositions. In 1997 he moved to Berlin and continued working as an editor with directors such as Monika Treut (Gendernauts) and Andrew Horn (We Are Twisted Fucking Sister). In 2002 he co-founded ON AIR. (source)
During the filming of Weather House, what moment made you the most proud? And what’s your favorite memory?
Although I was totally exhausted, I think my proudest moment was the day of the wrap when we gathered the entire cast and crew for a group portrait and I realized we had actually made it to the end of the shoot (and everyone was still talking to each other).
My favorite memories are of the dinners we had, cast and crew, every night at a long table in a big barn across the street from our location. Great food and people, and a chance to wind down before the next day’s shoot.
As a filmmaker, what do you like most about pre-production? Production? And post-production?
Production: finding solutions to problems you could never predict.
Post-production: Editing, especially when the picture and sound start to come together and the film takes form.
What scares you the most during the process of making a movie?
The constant possibility of failure; of not being able to finish the film; of the film not coming together.
What’s your dream project?
There are a couple of novels I would love to adapt someday. At the moment I’m re-reading Riddley Walker by Russell Hoban.
Also, The Drowned World by J.G. Ballard. I’ll just keep dreaming.
Say you have to make a movie that features 90s music. What song do you pick to open the movie? What do you use for the emotional high point? For the narrative climax? For the closing credits?
That’s a hard one. I would say that I’d love to have Yo La Tango score a film.