ALL QUIET ON THE WESTERN FRONT editor Sven Budelmann knew he was in for a challenge in remaking the classic German anti-war novel. Not only was the novel already brought to the big screen as a 1930 Oscar® winner for Best Picture, but adding to the task was that this film would be the first ever adaptation made by German filmmakers. Fortunately Sven would be collaborating with a director with whom he was quiet familiar. Prior to this project, Sven had worked with director Edward Berger on six episodes of the German TV series, DEUTSCHLAND 83, as well as a German made-for-TV movie. In addition to his work with Berger, Sven also cut an episode of the highly-acclaimed Netflix series, DARK.
Set in the closing days of World War I, ALL QUIET ON THE WESTERN FRONT (based on the 1929 novel of the same name by Erich Maria Remarque) follows the life of an idealistic young German soldier named Paul Bäumer. After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive. The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war.
Editing All Quiet on the Western FrontIn our discussion with ALL QUIET ON THE WESTERN FRONT editor Sven Budelmann we talk about:
- Closing the door on snare drum hits
- Letting the audience finish their popcorn in the opening minutes of the film
- Using the Avid Artist | DNxID for Zoom reviews
- Marty Schenk's sizzling reels
- The psychological toll cutting a war movie takes on its editor
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