Tamera Jones is a writer and editor for Collider who specializes in big blockbusters, horror movies, popular IP franchises, action, and tons more.
The Big Picture For nearly two decades, director Yorgos Lanthimos has enlisted the skills of Greek film editor Yorgos Mavropsaridis. The two first teamed up for commercials and continued with Lanthimos' 2005 drama, Kinetta, setting them on a path that would earn Mavropsaridis Oscar nominations for both The Favourite and Poor Things. They share a filmmaking language, which came in handy when whittling the auteur's most recent feature, Kinds of Kindness, in the edit.
YORGOS MAVROPSARIDIS: An editor can be a manipulator who manipulates their feelings and thoughts. Because we're trying to immerse the viewer into a situation or an experience mainly, especially with Lanthimos’ films, we are, as a matter of fact, trying to project the film into their mind.
Of the films you worked on with him, which one changed the most in the editing room in ways you didn't expect? MAVROPSARIDIS: I guess Poor Things was maybe easier, in a sense, because we knew we had to find the character of Bella Baxter. We had to create with, of course, the material, we had the improvisation, they used a character that all the film was around that, right? On Kinds of Kindness, it was different because it was situations. And although the three different stories might seem different, they have common themes.
MAVROPSARIDIS: I was satisfied when I did Monos with Colombian director Alejandro Landes. I've also done a very nice small film with a Turkish guy, , Sivas, about some fighting dogs, which premiered in Venice. Also, my previous collaborations with Greek filmmakers, Giorgos Panousopoulos for example. He made a film that was also premiered in Venice, Love Me Not?, and some other of his films.
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