PRODUCTION
EDITING CRAFT
...COW
Andrea Arnold’s documentary, Cow, won Best Edited British Doc at the BFE Awards. Rebecca Lloyd explains how she, and editors Nicolas Chaudeurge and Jacob Secher Schulsinger, brought Luma’s world to life
How did Andrea Arnold brief you? Andrea wanted Luma to be seen. We were to ‘watch her watch the world’, and not to assume what she was thinking. To be pure and true to the life of a dairy farm cow only using scenes that were shot on that day.
Was the edit a daunting task? Starting any documentary is a little daunting when you have a blank timeline and lots of footage to watch not knowing what you are going to find. I started my career editing at The NHU, so it was familiar and nice to return to observing and editing
animal behaviour. As it was spaced out over four years when key events happened it helped not to feel too overwhelmed, and I was able to keep up with the shoot. I actually looked forward to the next lot of rushes coming in, learning more about the working of a dairy farm, seeing how much Malu had grown and how Luma was getting on. I felt a strong emotional connection to Luma and even went to the farm to meet her.
Was the lack of dialogue a challenge Beginning a project knowing it was to be purely a visual story was a new experience. The sound team was amazing and played a huge role in enhancing the world of the dairy farm and the cows. Many people say that when you are watching the film you have your own internal dialogue going on. I certainly did.
The film is so spare, was there nowehere to hide as an editor? Staying on a shot for a long time forces you to surrender to the viewing experience and gives you time to think ‘what is she feeling?’ Not cutting was the key as then you know it is not manipulated.
How difficult was it to construct a narrative? Andrea knew from the beginning she wanted the film to begin with an eye and end on an eye, following the life of a cow and calf from birth to death to birth. This didn’t go as planned with Malu’s pregnancy but that is true to life. The narrative closely follows the daily routine of the dairy farm with milking being at its core.
How did you avoid anthropomorphising? During the edit we were all conscious of not assuming what Luma was thinking but there were many times in Luma’s behaviour that showed human characteristics it was hard not to anthropomorphize. One of my favourite moments that was captured all in one shot is just after Luma has given birth for the second time. She is licking her new-born clean and sees a calf trying to climb out of the pen and instinctively goes over and nudges it back in. It is a beautiful moment showing Luma’s protective motherly instincts.
How was working as a team of editors? We were a tag team, so we never worked at the same time. The film would not be the same without all of us. We call ourselves the three Musketeers.
time to think ‘what is she feeling?’.” Rebecca Lloyd, Editor, Cow
Cow 86
televisual.com Summer 2022
“Staying on a shot for a long time forces you to surrender to the viewing experience and gives you
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