„… she (Laura Poitras) knew that I had a lot of experience with fiction. And she had this feeling that this film she was working on – and this was prior to Ed Snowden contacting her – had some thriller potential, that the film would have a narrative pull to it that was similar to what we could find in fiction films. So, she was quite interested in that part of my experience.“ M.B.

Das Gespräch mit der Editorin und Produzentin Mathilde Bonnefoy wird einen Bogen spannen von den besonderen Umständen der Postproduktion von Citizenfour (hohe Geheimhaltung) über die unerwartete Kontaktaufnahme eines neuen Protagonisten (Edward Snowden) in der Rohschnittphase, über die Revision der Montage in Reaktion darauf bis hin zur einzelnen ästhetischen Entscheidungen, zB. wie und warum die Filmemacherin als Figur integriert wurde. Fragen nach ethischer Verantwortung, erzählerischer Herausforderung und künstlerischer Form in der Montage werden gestellt.

„When Laura came back from Hong Kong, she dumped this footage in my lap… She asked me to view the footage in the utmost detail, which I did for a long time. So, I was alone with it, and that’s how I met Snowden, in a way. And I was overwhelmed, watching that footage, by the astonishing purity of his intentions… there was just a steady stream of authenticity and truth. So, that’s what I saw and that’s what I’ve felt obliged to keep, to disclose, in the film, to protect and to enhance and to show. That’s what I feel compelled to state for him.“ M.B.

Moderation: Gesa Marten

(Zitate: Positive Trauma: Editor Mathilde Bonnefoy on Citizenfour. Interview von Scott Macaulay am 20.Oktober 2014, Filmmaker Magazine)

 

> Mathilde Bonnefoy   |  >  Citizenfour  |  >  Gesa Marten