How does “Tyrel” differ from Sebastián Silva’s earlier films? “It was an actual screenplay,” he explained during an interview at the IndieWire Studio at the Sundance Film Festival this January. It was far from the Chilean filmmaker’s first time in Park City — “The Maid,” “Crystal Fairy,” “Magic Magic,” and “Nasty Baby’ all premiered there as well — but its editing process required an evolution in his style.
Silva credits much of that to editor Sofia Subercaseaux, who was with him in the IndieWire Studio. “What was very heroic from Sofia is that these movies are shot in a very unorthodox way. We rarely turn the camera off, you know, when we do takes…It’s a movie that didn’t take that long to shoot, but it takes a long time to edit.”
“I know what the movies are about before you’re shooting them. I feel like we have a really similar sense of humor,” Subercaseaux added.
She didn’t always plan this path. “I kind of stumbled upon editing because of the first movie we shot together. I started using Final Cut, which was the easy platform at the time and what I used in film school,” she said. “And then, because of a tiny job that I did in between movies, I had to learn Premiere. I started using it, and I really liked it. It’s very intuitive and easy and just seamless. I can run it in my laptop, which is huge, and it works just as well if not better than the Avid.”