Jane MacRae, Author at Canadian Cinema Editors Les Monteurs et Monteuses de cinéma canadien » Page 2 of 3

Sarah Taylor is award-winning editor with over eighteen years of experience. She has a passion for storytelling and has cut a wide range of documentaries, corporate videos, television programs, and full length feature films. She is a member of the Directors Guild of Canada (DGC) and is the host of the CCE podcast The Editor’s Cut. Projects like War Witch, Maelstrom or The Pillars of the Earth have garnered awards and nominations at the Oscars, the Golden Globes, and throughout the world in major film festivals like TIFF, Cannes, or Berlin. He’s worked with some of the finest filmmakers in Quebec, like Denis Villeneuve, Philippe Falardeau, Kim Nguyen, and Louise Archambault. She began her career in unscripted television on iconic and Emmy-winning shows such as TOP CHEF and PROJECT RUNWAY.

DAY 2: Panels & Talks

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).

TSC Announces New Voices Awards

Paul Hunter (Nut Job, Spark) and Lesley Mackay Hunter (The Nut Job 2 – Nutty by Nature, Arctic Justice) shed light on their careers in animated film and television, and the unique role of the editor from storyboard to screen. Inbal and Cecilia Peck’s last collaboration was the Emmy-nominated feature documentary Brave Miss World, which debuted on Netflix in 2014. It is the story of an Israeli beauty queen, who was raped seven weeks prior to her winning the Miss World pageant, and her crusade to reach out to fellow survivors while trying to keep her own rapist behind bars. Every production starts with a solid plan but step by step as each phase inches closer and closer to being received by an editor’s invisible hand, that plan will unravel. Even if it is due to a global pandemic, it is on the editor to shift gears, to persevere for the story and aim to produce beyond what was undone. Join the editor behind THE NATURE OF THINGS episode “The Covid Cruise” for a conversation about filmmaking in the Covid era.

DAY 1: Panels & Talks

• Projects include Freaky Stories, Angela Anaconda, Franny’s Feet, Iggy Arbuckle, Johnny Test, Glenn Martin DDS and Nature Cat.
• Inbal began making films when she was in high school and later produced training films for the Israeli Defense Forces.
• Projects like War Witch, Maelstrom or The Pillars of the Earth have garnered awards and nominations at the Oscars, the Golden Globes, and throughout the world in major film festivals like TIFF, Cannes, or Berlin.
• In 1987 Alan was series editor on the original Degrassi High series directed by Kit Hood.

Join editor Ryan Morrison (STOWAWAY, ARCTIC) and assistant editor Russell Anderson (MANK) as they explore the challenges with remote editing work- flows and how they have solved them in their recent projects. The skills required of an assistant editor in animation are quite different from those working in live-action. Instead you are building shows, updating episodes and providing necessary materials and inspiration to artists. Animation editor Merissa Tse shares her wisdom and experience of what makes a good assistant editor in the field of animation. From FRINGE to THE NEWSROOM, Michelle’s work shows a range of storytelling techniques.

The 5th Annual CCE Awards Nominees & Winners

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

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.

Panel #1: Making a difference – Cutting content with an important social message

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.

Stephen Philipson, CCE

To qualify for the Telefilm Canada New Voices Award, candidates must have written at least two short films one of which has been produced, and have written one feature length screenplay, TV pilot or series treatment. They must not have previously produced a feature or TV series/pilot, nor received Telefilm Canada Funding. George cut many of Canada’s iconic series and feature films, from Adventures in Rainbow Country, Street Legal, and Cold Squad to Outrageous, The Silent Partner, Isabel, and many others.

Award Nominees & Winners

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.

Chris Coulter

Stephen Philipson CCE is an award-winning editor and proud member of the CCE since the very start. His credits include high profile TV series such as American Gods, Hannibal, and Orphan Black. He also cut Canadian film favourites such as The Wild Hunt, voted Best Canadian First Feature and one of Canada’s Top Ten by the Toronto International Film Festival, and Grown Up Movie Star, a prize-winner at Sundance. Roslyn’s television projects can be seen on NETFLIX, HBO Canada, ABC, Syfy, Lifetime, Global and the CBC. She has earned CCE and DGC Nominations for her editing in the categories of documentary, TV Movie and Mini-Series. With a background in theatre, Malenfant is an editor with a passion for bringing out an actor’s talents and crafting their best performance.

With over 15 years experience, Argentina-native Andres Landau is an award-winning editor. He was distinguished with the 2018 Canadian Cinema Editors Award for Best Editing in a FeatureDocumentary for Unarmed Verses. In 2011, he oversaw post-production for The National Parks Project, and edited Sirmilik the 2012 Genie Award winning short documentary by director Zacharias Kunuk.

Never one to turn down an adventure, he once traveled to Sri Lanka to edit an epic Action/Romance about the Sri Lankan civil war (in Tamil and Singhalese) for a director who contacted him randomly over the internet. The first annual EditCon took place on Saturday February 10th, 2018 at the TIFF Bell Lightbox in Toronto. The event was sold out to 150 guests and included 4 informative, lively and open discussion panels. Join Nahid Islam for an intimate Q&A on the ins and outs of post production fundamentals and answering your questions about the process behind the scenes. The eighth annual Toronto Screenwriting Conference takes place at the Metro Toronto Convention Centre on April 22 and April 23. Each winner receives a pass to the TSC and a meeting with representatives from Telefilm Canada.

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.

• His career started in the writers room and as editor on the surreal comedy series CAMPUS.
• THE LEAGUE is her first documentary short, funded via the NSI Aboriginal Documentary Program.
• He is currently editing Easy Land, the first feature of Serbian-Canadian director Sanja Zivkovic.
• 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.
• Every production starts with a solid plan but step by step as each phase inches closer and closer to being received by an editor’s invisible hand, that plan will unravel.
• Paul Hunter (Nut Job, Spark) and Lesley Mackay Hunter (The Nut Job 2 – Nutty by Nature, Arctic Justice) shed light on their careers in animated film and television, and the unique role of the editor from storyboard to screen.
• Roushell Goldstein was born and raised in Ottawa, Canada, received her BA from Carleton University, and immediately left Ottawa on her “Grand Tour” of Europe.

En discussion avec Myriam Poirier, CCE

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. (March 23, 2017 – Toronto, ON) The Toronto Screenwriting Conference (TSC) has announced the recipients of this year’s Telefilm Canada New Voices Award. The emerging screenwriters were selected from over 120 Canada-wide applicants. Ron Wisman, CCE, has been an integral component of the Canadian editing community for over 40 years. Ron has an impressive resume of 89 titles with almost half being Movies of the Week; The Violin, one of the first films that he cut, was nominated for an Academy Award. Alan moved to Toronto in 1975 where he edited The Clown Murders, starring John Candy, and Love at First Sight, starring Dan Aykroyd, which received a Best Editing Award from the newly formed Canadian Film Editors guild in 1977.

• But it was the editing suite that eventually took his interest after he landed his first job on the CBC series, The Forest Rangers, in the early 1960s.
• 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.
• Morsi’s short films scripts LIPSTICK, CHECK POINT & MANGO were named finalists for Robert Bosch Film Fund in 2013, 2014 and 2015 (affiliate with the Berlin Film Festival).
• Animation editor Merissa Tse shares her wisdom and experience of what makes a good assistant editor in the field of animation.
• 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.

BAYLINE is her 2nd documentary short funded via the MTS STORIES FROM HOME Broadcaster. THE LEAGUE is her first documentary short, funded via the NSI Aboriginal Documentary Program. The film is currently playing several festivals and aired with broadcaster APTN in fall of 2016.

Thank you to our CCE staff:

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.

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.

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.

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 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.

Throughout his career he has enjoyed working with many great filmmakers, developing lifelong friendships and creative collaborations. Debra Karen became interested in film when she took an elective course in Cinema at Dawson College in Montreal which was taught by Larry Kent. While studying, she was hired as a second assistant editor to work at Cinepix on their production of Across This Land with Stompin’ Tom Connors. Chris Mutton brings over 12 years of film and television experience to the table. He is a 2015 Canadian Film Centre alumni and since then has been cutting music videos, commercials and the highly anticipated PORCUPINE LAKE, which premiered this year at TIFF.

Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE. She has won two CSA awards, a DGC award, and has earned eleven award Nominations. Isabelle Malenfant began her career as an assistant editor learning alongside Emmy Award winning director Yves Simoneau, on his films Napoléon, Free Money, and Nuremberg.

Known for her comedic and musical timing, Lesley has recently been working on feature animations The Nut Job 2 and soon-to-be-released Arctic Dogs. Inbal began making films when she was in high school and later produced training films for the Israeli Defense Forces. At NYU, she was the recipient of the prestigious, merit-based, WTC Johnson Fellowship, awarded to one student filmmaker a year.

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).

His latest film, LUBA, won multiple awards at the Canadian Film Fest and earned him a CCE awards nomination. Recently completed are three short films screening at this year’s Available Light Film Festival in Whitehorse. He is currently editing Easy Land, the first feature of mgm grand darknet official Serbian-Canadian director Sanja Zivkovic. Chris has served as vice-president of the CCE and continues to stay involved as part of the Global Opportunities Committee. Helen Haig-Brown (Tsilhqot’in) is an award-winning director and a leading talent in experimental documentary.

Multitalented moderator Sook-Yin Lee sits with Oscar-nominated editor Jinmo Yang, ACE for an in-depth conversation about the craft of Picture Editing. Laura Zempel grew up in Sacramento, CA and received a BFA in Film Production from Chapman University. She began her career in Film and TV as an assistant editor on DEXTER, and has gone on to edit HBO’s ROOM 104, EUPHORIA, and most recently AMC’s DISPATCHES FROM ELSEWHERE. As the world settled into lockdown, TV entertainment went from distraction to lifeline. With audiences trying to make sense of world events, stories and characters matter more than ever. As the entertainment landscape shifts to meet an unprecedented need for engaging content delivered on-demand to an audience stuck at home, how will this change the stories we tell, and the way we tell them?

This panel discussion focuses on their careers in indie film, their process in editing these films, getting a festival run, and what lies ahead. Some of her other credits include the series The Expanse, Houdini & Doyle, The L.A. Complex, and the feature films Seven in Heaven, for Blumhouse Productions, A Christmas Horror Story, for Copperheart Entertainment, and Compulsion, for Dimension Films. Cutting-edge picture editor Michelle Tesoro, ACE, is an industry rising star. Tesoro cut Netflix’s top-rated series THE QUEEN’S GAMBIT, Emmy-nominated series WHEN THEY SEE US, GODLESS, HOUSE OF CARDS, and HBO’s series THE NEWSROOM.

Amy started as an Assistant Editor on films like MY OWN PRIVATE IDAHO, CORRINA, CORRINA, and TO DIE FOR. She edited 20 features, including HIGH ART, LAUREL CANYON, ELEGY and Gus Van Sant’s remake of PSYCHO, and TV series such as DEXTER, THE KILLING, VIDA and most recently, HUNTERS. She is currently editing the limited series MARE OF EASTTOWN, starring Kate Winslet, for HBO. Amy graduated from the University of Arizona with a BFA in Fine Arts Studies.