Paris, France — The cinema world seems to shine its light on actors and directors, while artists like Michel Klochendler are behind the scenes, crafting the magic that moved audiences. A well-known French editor and sound editor from Paris, Klochendler’s career spans over three decades filled with collaborations by legendary directors, coupled with numerous accolades that celebrate his meticulous work.
Michel Klochendler started his glittering career in cinema as an assistant on François Truffaut‘s “The Man Who Loved Women.” This early experience on such a major film is what really made him fall in love with the art of film editing. He started climbing the career ladder in the 1980s—at a time when editors still had to have a professional card issued by the French government. He honed his talents at the now-defunct Studios de Billancourt, which was a major location for film cutting in France, comparable to a little Pinewood on the Seine.
Klochendler has had the privilege to work, among others, not only for François Truffaut but also for Maurice Pialat, Jacques Rivette, André Téchiné, Youssef Chahine, and Claude Berri. A diversified body of work in his portfolio speaks volumes about his versatility and dedication to the craft. Working with more famous or less-illuminated directors is approached with equal professional commitment to excellence.
Family Legacy
Michel is the uncle of the famous director of photography Guillaume Schiffman, and the younger brother of Suzanne Schiffman (born Klochendler, 1929-2001), one of the most famous French screenwriters and directors. She frequently worked with François Truffaut, and Schiffman was the model for his ‘script girl’ Joelle in his “Day for Night,” done by Nathalie Baye. Schiffman herself did much work worthy of recognition in the cinema, working with Jean-Luc Godard and Jacques Rivette. She was nominated for an Academy Award for Best Original Screenplay with “Day for Night” and received a César Award for Writing for “The Last Metro,” both in collaboration with Truffaut.
Transition to Sound Editing and Innovations
At an age when clever people were regularly being invited into sound editing to clear any potential competition, Klochendler became a Sound Editor-Designer. This was in the late 1980s, as Dolby technology was beginning to spread. Klochendler worked first in bringing digital editing to France; he was the first to cut the sound for Claude Berri’s “Germinal”—an adaptation of Emile Zola’s novel—on a DAW (Digital Audio Workstation).
Return to Picture Editing and Mentorship
Despite his success in sound editing, Klochendler returned to his first love: picture editing. He continues to offer vital contribution to the industry and actively participates in encouraging young talent and bringing them under his wings. This action exemplifies his undying interest and passion in films.
Michel Klochendler’s work has been rewarded with a few highly esteemed awards: Chevalier des Arts et des Lettres, awarded by the Ministère de la Culture in July 2013; César Nominee in 2013 for Best Editing in “Camille Rewinds”; César Award in 1998 for Best Sound in “Same Old Song,” issued by the Académie des Arts et Techniques du Cinéma, France.
Michel Klochendler’s input into cinema is immeasurable. The experience and imagination he lends to a film make him just that—a Maestro, really. With changes constantly hitting the screen, Klochendler’s work stands out as a standard by which all other films and sound editing should be measured.
