FLMTQ: The editing of the film is remarkable, contributing as well to the film's fluidity. How was the process of translating your vision in the script to the editing room? How did you come to work with Andrea Maguolo?
LS: The editing of the film was quite a long process focused on finding the emotional structure of the story, rather than the narrative structure. To achieve this goal we had to make tough choices in the in the editing room and had to sacrifice many scenes.
Andrea and I have been collaborating for so many years. His contribution to the rewriting of the film in the editing room was paramount.
FLMTQ: The alpine snow-covered town where Jenny ends up is very powerful, almost a character in the film. Having come from a seaside town, this remote landscape is always perceived as hostile. What inspired you to craft your story in such a place, and how challenging it was to film there?
LS: Starting off in a seaside town to then find ourselves in a more hostile mountain landscape established a contrast. This contrast was one way to depict how the protagonist was somewhat robbed of her teenage years and unwillingly thrown into a hard and isolated landscape from which she wants to escape.
Filming in such a remote place has the advantage of letting you and the crew be isolated and focused entirely on the film, even though the weather conditions weren't the easiest. We often shot exteriors and it was very cold. Also that year it didn't snow, the snow only arrived the night before the first day of shooting and we knew it would last only a few days. We thus decided to reverse the chronological order of our filming schedule to get snow in the final part of the film. So we started shooting the second part of the movie first— not the easiest thing for the actors.