Quotes

[Editing is] something that you have to do because you like it. You're not going to get a lifetime of glamour. Editors are not cool; it's the geekiest thing you can do in the film industry.

[on the warm reception and interest that his directorial debut short film Cosmico (2014) received in Greece] When everyone you know is unemployed and your country's economy has been razed to the ground, you need something stronger to put a smile on your face. If you see something feisty, lurid or provocative, you go for it. Why waste time with decorum, propriety, political correctness and other fig leaves? Right now, Greeks have got nothing to lose. That's the best audience you could ask for.

It pays to specialise. The human memory is not great for remembering someone for lots of little things they do well. People will remember you for the thing you excel at, so don't try to cover all the bases. Choose one type of post-production work that you want for a career, and do as much of it as you can.

The greatest misconception about film editors is our invisibility. Most viewers will only notice the editor's work when it fails: an awkward cut, repetitive gimmicks, anything that has a jarring or distracting effect. If the film catches your attention and you forget about everything else then that is the result of the editing.

[on attending film festivals] The most important lesson I've learned: filmmakers can't rely on the merits of their film alone. You can make the most brilliantly shot, engaging and thought-­provoking film ever, but if no one knows about it, a weaker film by someone else will get all the audience, the festival acceptances, the awards and the distribution deals that had your name on them.

[on Leaving Stockholm (2014)] This was the first film I edited with an actor crying on cue - to come across footage like that unexpectedly, while going through the rushes, is something special.

Compelling dramas draw most of their pathos from character, not plot. In comedy, the same happens with humour: if it doesn't stem from character, it feels flimsy and shallow.

If you can make people laugh without a happy ending, there's no limit to what you can accomplish with your craft.

The strongest characters don't need convoluted plots to embark on intense adventures.

[on the title character in Mona and the Stations of the Cross (2016)] Her motivation is pure irrational obsession, so all you need to do is point her in the right direction, sit back and watch the fireworks go off.

If I have to choose between directing and editing, I'll always choose editing.

Bold films demand ambition, commitment and professionalism.

The producer is the most important role in any film. Good producers can smell a compelling story, and have the passion and the discipline to make it happen.

[on funding sources for independent films] Funding is often one of those dilemmas about the egg and the chicken, and the truth is either of them can come first.