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

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.

Chris Mutton

A multi-disciplined artist, he has won several awards for his artwork, pœtry, short stories, music and films. His work provides a bare-knuckled view of post-colonial Mi’gMaq life, defying stereotypical treatments of First Nations’ narratives by using horror/sci-fi tropes to explore themes of violence, gender, race mgmgrand market and Indigenous futurism. He hung around the University of Toronto’s Hart House Theatre, and its then director, Robert Gill, absorbing the world of theatre. 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.

Editing Seduced: Inside the NXIVM Cult with Inbal B. Lessner, ACE and Gillian McCarthy

In 2018 he wrote and edited TO WENDY WHO KICKED ME WHEN I SAID I LOVE YOU, an off- beat, romantic short film which premiered at the London Film Festival. ADAM PERRY – Adam Perry is an award winning director and screenwriter from Charlottetown, Prince Edward Island. He got his start writing and directing web-series, shorts and over a dozen food-based series with celebrity Chef Michael Smith. Recently, Adam has focused his attention on writing for the big screen and has seen some early success.

Stephen Philipson, CCE

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?

TSC Announces New Voices Awards

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.

The 2nd 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.

Canada

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.

Main Features

She just completed SponsorLand, the feature length doc for TV Ontario on a Syrian refugee family with 11 children resettling in the tiny town of Picton Ontario. Jinmo Yang is an award-winning South Korean film editor who has edited over a dozen feature films, including the international hits PARASITE, OKJA, and TRAIN TO BUSAN. The TSC is a two­ day event that gathers the best creative talent, authors and speakers in writing for film, TV and media in Canada and abroad. The Conference offers screen ­based industry professionals an advanced level of education and skills development unparalleled by any other screenwriting event in the country.

Panel #3: Behind the Cut with Richard Comeau, CCE

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.

Panel #4: Behind the Cut with Ron Sanders, CCE

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.

• When she’s not writing or filming she can be found binge watching Netflix and scrolling through Tumblr.
• Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE.
• Since then, Paul has also edited the feature animated films Spark and The Nut Job 2.
• 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.
• Chris recently completed a series of projects for TIFF as supervising picture editor.

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.

The 3rd Annual CCE Awards Nominees & Winners

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.

King Street West, Toronto

Christine Armstrong is an editor who has worked on a variety of short films, tv series, commercials and feature films in the US and Canada. She is an alumni of Cineplex Entertainment Film Program Editor’s Lab at the Canadian Film Centre. His career started in the writers room and as editor on the surreal comedy series CAMPUS. Recent work includes I MAY DESTROY YOU, SALLY4EVER, LOVE WEDDING REPEAT, and the upcoming FROM DEVIL’S BREATH, directed by Orlando von Einsiedel (VIRUNGA/THE WHITE HELMETS).

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).

PANEL: Thrills & Chills – Editing Dark Genre in Feature Film

• 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.
• 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.
• Michèle’ short documentary, The Barber of Augusta film just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival.
• His latest film, LUBA, won multiple awards at the Canadian Film Fest and earned him a CCE awards nomination.
• 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.
• 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.
• In 2018 he wrote and edited TO WENDY WHO KICKED ME WHEN I SAID I LOVE YOU, an off- beat, romantic short film which premiered at the London Film Festival.
• Prior work includes award nominated series; 19-2, Bomb Girls, Camelot and the influential Durham County.

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.

Award Nominees & Winners

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.

The 4th Annual CCE Awards Nominees & Winners

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.

Michèle’ short documentary, The Barber of Augusta film just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival. She just completed SponsorLand the feature length doc for TV Ontario on a Syrian refugee family with 11 children resettling in the tiny town of Picton Ontario. Chris Mutton brings over 15 years of film and television experience to the edit suite.

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.

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.

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.

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 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.

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.

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.

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.