The Importance of Storytelling - Exclusive Interview with Andrea Franceshini, editor of Minding Shadows

Andrea Franceschini, from Trentino (Trento), is an editor for So Fare Films' latest production, Minding Shadows. With his expansive portfolio working with clients such as Rai5, he joined the So Fare Films team in 2024. He talks about the importance of storytelling and being a well-rounded filmmaker in the film industry.

What did you study in school?

Andrea: I studied music in high school in Trento, then moved to Milan and started a three-year bachelor’s degree in communications. It wasn’t too specific because I had many interests and wasn’t sure what I wanted to do. After finishing Studi Primo Livello, I studied film for two years, then started working full-time as an editor. While working, I also began a two-year screenwriting course and a PhD in communications and new technologies. I wanted to be as well-rounded as possible.

You’ve worked in the past as an editor, director, and videographer; how important is it to you to be a well-rounded filmmaker?

Andrea: It is very important because working in the film industry often involves working in a team. But I think it’s very important to know the different languages inside the making of a film and know everything connected to making a film, even if you are not required to work on all aspects of making films.

The second reason is that when you want to work on a project on your own, and you don’t have much money to work with, but believe in your idea. If you want to complete your project, you have to be as independent and capable as possible.

Are there any other films or editors that have inspired your work?

Andrea: Steven Spielberg, one of the world’s most famous directors, is my biggest inspiration. I also admire Michael Kahn, his trusted editor. He’s won many Oscars, but beyond that, I’ve rewatched his films—like Indiana Jones and Schindler’s List—just to study the editing. I’d revisit scenes to understand how they were crafted, especially with analog editing, which was much slower and more complex than today’s digital methods. It was truly inspirational.

Since I studied music, I also draw inspiration from music videos. I love Chris Cunningham’s work, especially with artists like Björk and Madonna. Music videos are a short form of art, and I admire how he connects them to the song’s deeper meaning in such an original way.

Can you describe your experience with working on Minding Shadows? What were the biggest challenges and takeaways from working on Minding Shadows?

Andrea: Working with Minding Shadows has been one of the most exciting and complex challenges of my career. I joined the project after filming was completed, so the first step was understanding the story and everyone involved. I had to learn about Jenn Lindsay—her vision for the story and why she chose it—by reading and rereading the interviews and transcripts.

I wanted to understand Jenn’s ideas first, then propose mine, and eventually blend them with the team's to find a shared approach and structure. Once we agreed on that, I began editing individual sequences using the available footage and clips.

How much creative input do you have in the editing process of the film when you’re working on a project?

Andrea: It depends. Usually, when people ask me to work for them, they trust and rely on me. I’m happy when I can share my ideas with those willing to listen. For example, in Minding Shadows, I’m very grateful to Jenn and the team—they involved me like a family member, and working with them has been very easy.

But it’s not always like that. In my career, I’ve also worked with people convinced of their own ideas who didn’t want creative input from me. I don’t see this as a problem—sometimes an editor is just asked to follow the director’s or producer’s instructions. Other times, you're expected to contribute your own ideas.

How do you stay motivated during long editing sessions?

Andrea: Usually, I know how good it feels when a project is finished. When you don’t see immediate results in phases and periods of work, you have to look at your goal and remember the light at the end of the tunnel. So I find my motivation in remembering how good it is to create a film, not from scratch, because footage is usually there if you work only as an editor. Not everyone can see it, but you don’t have to lose faith in completing the process.

What is your process when creating a film?

Andrea: I need to find a unique story—something different from what’s been told before, with a challenge inside the story and one that challenges me. Before starting, I study a lot: reading books, going to exhibitions, or watching films related to the culture or people I want to portray.

When I arrive on location, if I have enough time, I usually don’t use my camera during the first week. My priority is building a genuine human relationship based on trust. People need to understand why I’m doing this work, which is especially important for interviews—usually done in the last days of the trip—because I want people to trust me when they respond.

I’m aware I may not get a second chance to return, especially outside Italy or Europe, so I film as much as possible. I often work with people from the culture I’m filming, so I consider myself a guest. I try to respect and absorb their culture and perspective to reflect it in the film.

How do you stay updated with the latest editing techniques and technology? Are there any tools or resources you rely on?

Andrea: First, you need to stay updated—not just with technology, but with editing languages and how they’ve changed over the past 10–30 years. Watching new films, TV shows, web series, or podcasts helps you understand how editing evolves.

Second, improve your work by keeping up with new tools—software or apps that better suit your needs and goals.

Third, connect with others in the field. Talk to professionals, ask questions, and share your work. This opens the door to learning new techniques and ideas, not just from experienced editors but also from younger people with different perspectives.

What advice can you give to others who want to start in the film industry?

Andrea: First, don’t rush—making good films takes time. Filmmaking isn’t just about picking up a camera; it’s about being human. It’s about connecting with people, building trust, understanding stories and cultures, and translating them in a way audiences can relate to. So be curious. Read, watch films—but also live.

Second, stay grounded in the real world. Meet people, face challenges, and don’t isolate yourself. Be curious, listen, ask questions. The stories you tell should inspire and resonate with the audience. And to do that, you need to understand the fast-changing world we live in—even with everything we juggle each day.

To learn more about Andrea, visit his website: www.andrea-franceschini.org.

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