Andrew has sliced through numerous feature films including comedy/horror Bloodsucking Bastards, post-apocalyptic thriller The Day, which premiered as part of TIFF’s popular Midnight Madness program, and the hugely successful Saw VI and Saw 3D. Mike’s work has been recognized formally through award nominations as well as being highlighted in film reviews from around the world. Films he has edited have played at Cannes, Berlin, Venice and Sundance, among other festivals, with 11 features accepted at TIFF. Sarah Polley’s Stories We Tell was shortlisted for the documentary Oscar as well as being voted in a TIFF poll as one of the 10 best Canadian films of all time. Narrative, character & emotion – how do we as storytellers bring these elements to an audience in a compelling and dramatic way? In documentary filmmaking, there are the added challenges of ethics, honesty, and “truth,” in however we are able to define them for ourselves.
Panel #2: Frame by Frame – A primer on Animation editing
Paul has been a picture editor for 25 years and has worked with such companies as Netflix, MGM, AMC, Showtime and many more. Some of his recent editing credits include ANOTHER LIFE, RANSOM, INTO THE BADLANDS, DARK MATTER and LOST GIRL. He is one of the Canadian Cinema Editors’ co-founders and currently sits on the National Board for the Directors Guild of Canada. Stephen is honoured to serve as CCE President and help the CCE advocate for editors across Canada. In 1987 Alan was series editor on the original Degrassi High series directed by Kit Hood.
The 5th Annual CCE Awards Nominees & Winners
She spent 3 years as the resident editor at the Banff Centre for the Arts and is a graduate of the The Canadian Film Centre. Her credits at Cinepix included Bill Fruet’s Death Weekend, Eddie Matalon’s Blackout, Ivan Reitman’s Meatballs, Larry Kent’s Yesterday and J. The panel will examine the editor’s contribution in creating original, provocative and beautifully made television. Some prizes included a Hard Drive, Copies of Art of the Cut (Steve Hullfish the author was even in attendance to sign the copies!), a copy of Avid Media Composer and subscriptions to various Boris FX programs. EditCon 2019 took place on Saturday February 2, 2019 at the TIFF Bell Lightbox in Toronto.
Stephen Philipson, CCE
It had women in all key positions, and they took great care in creating an environment for the cult survivors who shared their stories, in which they felt supported before, during and after filming. We will discuss the ins and outs of shaping such a complex and sensitive story and the challenges that Inbal and Gillian came across in the edit suite. She received her BFA honors degree in Theatre from York University, where she studied in the Creative Ensemble Conservatory. She currently works as a freelance director, producer, and story consultant in film, television, and branded content, and is a longstanding board member of BIPOC TV and Film. Jeff Barnaby was born and raised on the rural Mi’gMaq reserve of Listuguj, Quebec.
Panel #4: Behind the Cut with Ron Sanders, CCE
Join panelists Matthew Hannam, Stephen Philipson, and Andrew Coutts as they discuss the ups and downs of working in the US. As the Canadian and American film industries become more intertwined, what challenges and opportunities arise for Canadian editors wishing to work south of the border? For those who wish to remain in the land of Mounties and free medicare, what can we learn from our American editor friends? This panel will examine the creative and practical concerns of working down there versus working up here. With an unconventional background in stage performance, music and sound, which she uses to enhance her storytelling techniques. A leica reel and offline editor of many hit shows including Johnny Test, Busytown Mysteries, Justin Time and Total DramaRama.
PANEL: Thrills & Chills – Editing Dark Genre in Feature Film
Since moving to Los Angeles, Inbal has edited hundreds of hours of non-scripted network and cable television shows. She was also a Visiting Professor at UNCSA Film School, and a mentor in the Karen Schmeer Diversity in the Edit Room Program. Over the course of her career, Inbal has worked in the cutting rooms of directors such as Davis Guggenheim (Teach), R.J. Cutler (“American Candidate”), Kief Davidson and Daniel Junge (A Lego Brickumentary), Jeremy Simmons (“Transgeneration”), Tracy Droz Tragos (Be Good, Smile Pretty) as well as Natalie Portman’s feature directorial debut (A Tale of Love and Darkness).
The 3rd Annual CCE Awards Nominees & Winners
His latest project, A Small Fortune, was selected for the National Screen Institutes Feature’s First program as well as The Harold Greenberg Fund’s Shorts to Features program. The screenplay placed Top 5 out of 200 international scripts in Reddit’s 2016 Screenwriting competition and was a Semi-finalist in the 2016 Shore Scripts Feature Film category. Chris’ short films have screened throughout the world, including CLEO (TIFF, Cinema City), GOLDEN BOYS (HollyShorts, Inside Out, MiFO) and THE SISTERS TOLCHINSKI (Rhode Island International Film Festival). Chris recently completed a series of projects for TIFF as supervising picture editor.
DAY 2: Panels & Talks
Morsi’s short scripts were finalists for Robert Bosch Film Fund (Berlin Film Festival) in 2013, 2014 and 2016. Morsi participated at the 2012 Berlinale Talent Campus, 2016 TIFF Talent Lab and Women in the Director’s Chair. Morsi’s short films scripts LIPSTICK, CHECK POINT & MANGO were named finalists for Robert Bosch Film Fund mgm market link in 2013, 2014 and 2015 (affiliate with the Berlin Film Festival). As well, Mike has edited several award-winning documentaries, including Stories We Tell, for director Sarah Polley. His many television credits include Shaftesbury’s The Shields Stories and Sienna Film’s mini-series Diamonds, nominated for 9 Gemini awards.
Chris Mutton
Her feature film credits include collaborations with directors Stella Meghie (THE WEEKEND, THE PHOTOGRAPH), and Ali LeRoi (THE OBITUARY OF TUNDE JOHNSON). She has worked with creators Issa Rae (INSECURE), Ava DuVernay (QUEEN SUGAR), and Kenya Barris (GROWN-ISH, #BLACKAF). In 2015 Michèle completed her first solo feature length documentary in the combined roles of director, editor, and producer for Sugar Coated probing the role of sugar in a global healthcare epidemic. The film, in association with TVO and ZDF/ARTE, had its world premiere at Hot Docs International Film Festival and has been playing worldwide at international film festivals and on television. Sugar Coated was honoured with The Donald Brittain Award for Best Social and Political Documentary at The 2016 Canadian Screen Awards.
- Morsi won first place for SHOW & TELL at the WIFT/BravoFact pitch competition 2016.
- This panel, hosted by picture editor and sound editor Roderick Deogrades, will focus on the importance of mentorship and the editor/assistant relationship.
- From FRINGE to THE NEWSROOM, Michelle’s work shows a range of storytelling techniques.
- His many television credits include Shaftesbury’s The Shields Stories and Sienna Film’s mini-series Diamonds, nominated for 9 Gemini awards.
- The documentary POPCORN AND MAPLE SYRUP that Chris co-edited for the CBC, won the Special Jury Award at Worldfest.
- Over the past decade, Véronique has edited a wide range of projects including short films, music videos, documentaries, advertising, and TV series.
- Since moving to Los Angeles, Inbal has edited hundreds of hours of non-scripted network and cable television shows.
DAY 1: Panels & Talks
After graduating from the film program at York University, Michelle worked for many years as an assistant editor. This allowed her to be mentored and to collaborate with some of the leading forces in Canadian cinema. In addition to her work in film, Michelle edited two seasons of the Netflix/Rogers TV series Between, created by Michael McGowan. Her latest titles include the Cuban/Canadian film, Un Traductor, directed by Rodrigo and Sebastian Barriuso, which premiered in competition at the 2018 Sundance Film Festival and the upcoming Netflix/CBC series Northern Rescue. She has since had a diverse career editing drama series, feature films, and MOWs in a variety of genres, and the good fortune to work with many prominent and celebrated producers, directors, and screenwriters.
Award Nominees & Winners
Join Paul Day, CCE, and Michelle Tesoro, ACE, as they discuss Michelle’s work, including her most recent feat of editing an entire mini-series, THE QUEEN’S GAMBIT. He was continually recognized by the Canadian Film Editors Guild and won a Genie for his outstanding work on Joshua Then And Now. The following year he was awarded both an ACE Eddie and a Gemini for Sword Of Gideon. Collaborating with John Woo, Michael Anderson, Ted Kotcheff and Canadian legend Don Shebib to name a few, he has helped shape performances of many Hollywood legends; from Charlton Heston and Vanessa Redgrave to Lloyd Bridges and Christopher Plummer.
King Street West, Toronto
We’re currently experiencing a watershed moment for increased representation in storytelling. The editors behind I MAY DESTROY YOU, EUPHORIA, and #BLACKAF join us to discuss their groundbreaking work. The past year has brought our lives no shortage of fear-inducing moments, and yet films that offer us frights continue to be one of our greatest escapes. Action, comedy, drama, romance, horror and thriller – Jinmo Yang, ACE’s outstanding body of work covers almost every genre in filmmaking. His mastery of pacing and tone is often on display as he rides the line between genres, from the action/comedy of LUCK-KEY, to the thriller/comedy PARASITE.
Panel #3: Behind the Cut with Richard Comeau, CCE
He wrote and directed the acclaimed feature The Uncles (Odeon Films), named one of Canada’s Top Ten by the Cinemateque Ontario. Julio C. Perez, IV lives and works in Los Angeles, editing in both narrative and documentary. He has recently worked with director Sam Levinson on the series EUPHORIA, as well as the upcoming feature MALCOLM AND MARIE.
- In 2007 he was invited by Focal Press to write the Foreword for the second edition of The Technique of Film Editing, the book that had played such a central role in his life as an editor.
- Since then, Paul has also edited the feature animated films Spark and The Nut Job 2.
- Chris recently completed a series of projects for TIFF as supervising picture editor.
- She received her BFA honors degree in Theatre from York University, where she studied in the Creative Ensemble Conservatory.
- Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE.
- When she’s not writing or filming she can be found binge watching Netflix and scrolling through Tumblr.
- He was inspired to become a film editor after viewing Battleship Potemkin by Sergei Eisenstein and reading the bible of the edit room, The Technique of Film Editing (K. Reisz, G. Lambert) in 1967.
- He would go on to work steadily as an editor right up until his death in December 1999.
TSC Announces New Voices Awards
Since then he has been lucky to work on such diverse projects as The Daniels’ SWISS ARMY MAN, Denis Villeneuve’s ENEMY and Sundance hit JAMES WHITE. Nick Hector is a DGC, CCE, HotDocs and multi-Gemini Award winning film editor, story editor and consultant. He’s cut more than two-dozen feature and one hundred TV documentaries for filmmakers across the globe. Perhaps Nick’s best known work stems from his long creative relationships with legendary Canadian filmmakers Allan King, Yvan Patry, and Sturla Gunnarsson. With 2 films on Criterion, 3 Top Ten Canadian films, 5 films at MoMA, 10 at TIFF, and 15 at HotDocs, the first 30 years have been a lot of fun. Award winning editor Lisa Grootenboer is an industry staple with two plus decades of experience.
She is best known for her work on The Tudors, The Borgias, Mary Kills People and ANNE with an E, as well as for her live music cutting with Joe Bonamassa and Iron Maiden Logging in at 260 hours of cut screen time, her passion is clearly seen in her work. Since 1995, Lisa has been nominated for 18 film awards and has brought home eight, including four DGC Awards, three CCE’s and a Gemini. There’s no formula to a festival hit, but these three editors, each with a recent feature film on the circuit, shed light on their respective experiences.
When she’s not writing or filming she can be found binge watching Netflix and scrolling through Tumblr. JJ is currently working on EagleVisions’s ‘TAKEN’ Season 2 as a Director for 2 episodes. HEADDRESS is her 3rd documentary short – it will have its world premiere at the 2017 Hot Docs Film Festival.
Roushell learned to edit with glue and hot-splices, then Steenbecks arrived from Germany, and she progressed to splicing tape and the splicer. That, of course, lasted for a few decades until the big transition to digital in the early 1990s. Andrew has enjoyed a career working with studios such as Fox, CBS, ABC, Marvel, and Netflix, including popular shows such as Sleepy Hollow and Bull. His work on the pilot episode of APB with Director Len Wiseman secured a first season pick up order from Fox Television.
- Inbal and Cecilia Peck’s last collaboration was the Emmy-nominated feature documentary Brave Miss World, which debuted on Netflix in 2014.
- In 1975 Ralph went freelance and focused on drama editing, amassing a large list of credits on over 50 television movies, 16 features, 13 mini-series and multiple TV series.
- The editors of some of the most binge-worthy shows reflect on how their work landed in this time and place, what the stories meant to audiences, and how that affected their process during a pandemic.
- Animation editor Merissa Tse shares her wisdom and experience of what makes a good assistant editor in the field of animation.
- Morsi’s film credits include THEIR FEAST (Cannes Short Film Corner, TIFF, BBC, Cine Sud), NOSTALGIA (WIFT 2015), among others.
Tucked away in a cabin in the woods, Geoffrey Boulangé and Sophie Deraspe set about editing the award winning film, ANTIGONE. In this session Geoffrey Boulangé discusses the processes that went into editing the film; including cutting while shooting; working in FCPX, and co-editing with director Sophie Deraspe. In 1975 Ralph went freelance and focused on drama editing, amassing a large list of credits on over 50 television movies, 16 features, 13 mini-series and multiple TV series. His commitment to excellence in the craft of editing has earned him multiple nominations and awards over the years, including Best Sound and Best Picture Editing Awards the first year of the Geminis, and an Emmy nomination for Joan of Arc. He was promoted to Editor in Charge at age 27 and a year later to Assistant Supervising Editor in charge of the day to day running of the Film Department. He had the great pleasure of working with Glenn Gould on the soundtrack of the legendary documentary The Idea of North.
Since then, Paul has also edited the feature animated films Spark and The Nut Job 2. Unarmed Verses and Sgaaway K’uuna (Edge of the Knife) are films that have intertwined themes of social justice into compelling stories, bringing important social messages to the screen in their respective genres of narrative and documentary film. Meet the Editor / Director / Producer duos behind both of these films to discuss the process of collaboration, sensitivity approaching the subject matter, and what each role contributes to the crafting of a powerful narrative.
Collins then edited David Cronenberg’s The Brood, which later became a cult classic. Corman invited him to Hollywood, where he was promoted to co-editor of Von Richthofen and Brown and edited 3 more features for New World Pictures. While in Los Angeles he edited I Escaped from Devil’s Island starring Jim Brown. Mike began his career with the Toronto New Wave, editing features for Bruce McDonald (Roadkill), Srinivas Krishna (Masala and Lulu) and Peter Mettler (Tectonic Plates; Picture of Light).
Editors in doc have such a deep involvement in shaping the films that they can become credited co-directors or co-writers. Join us as our panel (Mike Munn CCE, Michèle Hozer CCE & Nick Hector CCE) explores the profound level of authorship editors can have in crafting a documentary. Writer-Director Jim Allodi is a graduate of the NYU film program, and the CFC Director’s Lab.
As long-time editor for critically-acclaimed director Francis Leclerc, she worked on the popular sitcom Les beaux malaises, the dramatic series Marche à l’ombre, and Mon meilleur ami and the poetic short Trotteur, amongst others. Their latest collaboration, the feature film Pieds nus dans l’aube, is an adaptation of Félix Leclerc’s autobiographical novel of the same name. Over the years, she has also collaborated with directors François Jaros, Philippe Gagnon, Quentin Dupieux (a.k.a. Mr Oizo), Olivier Asselin and Mélanie Charbonneau.
He received numerous awards for his work, including Canadian Film Editors Guild awards, an Etrog and a Genie nomination. Gillian has had a diverse career editing feature films, MOWs, drama series, and documentaries, in a variety of genres. She has worked with many prominent and celebrated producers and directors in the Film and TV industry including Moira Walley-Beckett, David Shore, Naren Shankar, Mark Fergus, Vincenzo Natali, and Helen Shaver. JJ NEEPIN – JJ Neepin is an independent, first nations filmmaker living in Winnipeg, Canada. JJ has written, directed and produced several short films, funded by various organizations, along with her sister and partner Justina Neepin.
In 2007 he was invited by Focal Press to write the Foreword for the second edition of The Technique of Film Editing, the book that had played such a central role in his life as an editor. He describes this as one of the proudest moments in his life along with receiving a Lifetime Achievement Award from the CCE. Alan Collins was born in India and grew up in the UK where he studied Drama and Film at Bristol University. He was inspired to become a film editor after viewing Battleship Potemkin by Sergei Eisenstein and reading the bible of the edit room, The Technique of Film Editing (K. Reisz, G. Lambert) in 1967.
Bellevue, starring Anna Paquin, is screening on WGN America at the moment another series that Teresa edited and got to co-produce. Prior work includes award nominated series; 19-2, Bomb Girls, Camelot and the influential Durham County. Teresa is very excited to be part of the industry at a time when the boundaries of TV storytelling are being pushed like never before- it truly is the Golden Age.
As editors our jobs are constantly expanding, with more and more tools at our fingertips it’s important to keep our technical skills as sharp as can be. Editing and co-ordinating with VFX can be daunting at times, but it’s always important to get it right. Editor Christopher Malanchen shares some tips, tricks and best practices that he learned from editing on Vice’s THE DEVIL YOU KNOW (Season 2) and Cooking Channel’s BITCHIN’ KITCHEN and from his tenure as the VFX Editor for BIG LITTLE LIES (Season 2). This panel, hosted by picture editor and sound editor Roderick Deogrades, will focus on the importance of mentorship and the editor/assistant relationship. This interactive discussion will cover topics like the importance of training, benefits of mentorship for both the assistant and the editor, paying it forward and building a network. George Appleby’s life was defined by love, success and adventure, all of which he shared freely with the people he met and worked with.
Raised on Star Trek, Justin’s original plan was to push flashy buttons on a starship as an actor. Fortunately, he found his calling pushing colourful keyboard buttons in a dark room. His work has been seen ‘round the world in festivals such as Sundance, Berlinale, SXSW, TIFF, and most recently on HBO with the Emmy winning mini-series Big Little Lies. Roslyn’s recent drama series include Haven, Hemlock Grove, Ten Days in the Valley, and Mary Kills People. Roslyn’s passion for editing began in Montreal, where she studied Film and Screenwriting at McGill University.