Film Editor, EP2C / APostLab Participant in Brussels 2013
You participated in APostLab in 2013. How did you first get involved?
I attended the Brussels,Belgium edition in 2013 after a friend working in international film festivals recommended it. At the time, it was called EP2C, and I joined as a post-production supervisor, since I was already editing and coordinating post-production on various projects.
That’s where I met Hans, Niko, and Neeltje, people who later became very important in my professional life. When I interviewed for Netflix in 2020 one of the people hiring me was Hans. That connection came full circle about six years later.
You later returned to APostLab as a trainer. What was that experience like?
It was incredibly emotional. Netflix partnered with APostLab for post-production training, and I was invited back as a trainer in the same program where I had once been a participant.
We ran workshops in Johannesburg and Madrid, and I found myself on stage with Neeltje discussing communication between editors and post-production supervisors. Neeltje and Niko had been my trainers in 2013, so returning in this new role really highlighted how meaningful and long-lasting these relationships can be.
Was there a key learning from APostLab that stayed with you over the years?
One of the most important aspects was the scope of productions APostLab addresses, from very low-budget independent films to large-scale productions. That inclusivity was unique.
The workshop didn’t focus only on ideal scenarios with big budgets. It also addressed how to navigate post-production realistically when resources are limited, for example, planning schedules honestly when people are helping you while also needing to earn a living elsewhere.
On a personal level, preparing my presentation with Niko was transformative. He pushed me to grow in public speaking and presentation skills and helped me overcome anxiety I didn’t even realize I had.
What advice would you give to someone who wants to become a film editor?
Film editing is 50% craft and 50% creative diplomacy. You’re often working with directors who are exhausted, insecure, or struggling to articulate what they want.
Communication is at the core of editing. If you already have those skills, great. If not, that’s where aspiring editors should focus: learning how to listen, communicate, and manage relationships. The conversation with the director is the foundation of the editing process.
Is there a recent project you’re particularly proud of?
One project I worked on as a consultant is the German Netflix documentary Babo. It follows a well-known German rap artist struggling with drug addiction and his journey of resilience.
What stayed with me most was how the documentary resonated with audiences and sparked conversations around addiction, recovery, and hope. Seeing a project contribute positively to public dialogue is incredibly rewarding.
Why do you think training programs like APostLab are important?
We don’t have time to learn everything through trial and error. Experience needs to be passed on, especially by people who know how to communicate it clearly and meaningfully.
What makes APostLab special is not just the experience of the trainers, but their passion. That passion is contagious, and it makes all the difference.
Interview conducted by Monse Higareda Patrón (December, 2025).
