Danish editor Molly Malini Stensgaard, best known for her decades-long collaboration with Lars von Trier, will not return in the third season of the cult series “The Kingdom,” as confirmed at Karlovy Vary International. Film Festival, where she also joined the Crystal Globe jury.
“It would be strange,” she admitted. Gita Norby, Soren Bilmark, and Peter Megend will reprise their original roles.
“she did [‘The Kingdom’] Less than a year after graduating from film school, where I learned all sorts of grammar. The first thing I heard from Lars was: “Forget them.” It was strange to stop this working relationship after almost 25 years. But it also felt right.”
After The Kingdom, which premiered in 1994—with Jacob Thiessen and Pernell Beck Christensen also on editing duties—they continued to work, among other films, “The Idiots”, “Dancer in the Dark” and “Melancholia”, with 2018 “The House That Jack Built” marks their final collaboration, at least for the time being.
“It feels like a done deal,” she said. diverse. “But it would be foolish to say never.”
She said their separation from their consciousness was caused by Stensgaard’s decision to continue writing. She is working on a miniseries called “The Gang” about a Danish motorcycle gang in the late 1980s, slated for release in the spring.
“It’s about a group of young people finding a new family, and unfortunately, this is a very violent family,” Stensgaard said. She wouldn’t edit it, though, fully committed to her new role.
“It was a very natural transition. Everyone should regard their working life as an open possibility that can change: my mother became a lawyer at the age of 45. I never got tired of editing. I became more interested in something else.”
However, Stensgaard – who also served as a consultant on feature films at the Danish Film Institute – was happy to talk about von Trier’s methods and quirks at KVIFF, describing their work as “scary and liberating”.
“I was going to have the editor come in and say, ‘What if next time we shot the whole movie on a black floor with white stripes?'” ‘Sure Lars,’ she says, ‘that sounds cute.
The star of Nicole Kidman’s 2003 movie “Dogville” Terrier used a simple theater-like set with chalk-drawn lines.
“There was always a new set of rules meant to make things more difficult. 95- Ali [the filmmaking movement co-founded by von Trier] She was a part of him, and then in “The House That Jack Built”, he wanted things to be “dirty”.
“He gets disappointed if you don’t do something completely silly once in a while. His biggest fear is to get comfortable.”
It’s a feeling she’s also come across these days, and one that has partially pushed her to change her career.
“I realized that it was important for me to feel a little trembling when I worked. But I loved the feeling of knowing that everything [you need in order] To solve this puzzle here, right in front of you,” describing her first time in the editing room as “life-changing.”
“As an editor, when you have a problem, you go back to the script and realize it doesn’t work there either. The first time it happened, I was arrogant enough to think people were stupid. But that’s because there’s a huge difference between the movie and the written word. The editor is key to that transition. “.
Stensgaard admitted that she would always rather look for solutions than fight, and appreciated Trier’s collaborative approach.
“I wouldn’t feel creative in an environment where you argue a lot. Also, I didn’t end up in a place where someone would say ‘I’m the director and I want it that way,'” she added. She also worked with the likes of Ole Bornedal and Viktor Kosakovskiy on ‘Aquarela’.
In the movie “Kingdom”, the idea was to loosen things up. We didn’t want to see anything boring. Lars knows where he wants to go, but he also knows that someone else can come up with something they can’t get to.”
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