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

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.

The 2nd Annual CCE Awards Nominees & Winners

• The first annual EditCon took place on Saturday February 10th, 2018 at the TIFF Bell Lightbox in Toronto.
• Amy graduated from the University of Arizona with a BFA in Fine Arts Studies.
• 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.
• The film is currently playing several festivals and aired with broadcaster APTN in fall of 2016.
• 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.
• 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.

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.

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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.

TSC Announces New Voices Awards

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).

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

• Projects include Freaky Stories, Angela Anaconda, Franny’s Feet, Iggy Arbuckle, Johnny Test, Glenn Martin DDS and Nature Cat.
• In 1987 Alan was series editor on the original Degrassi High series directed by Kit Hood.
• Inbal began making films when she was in high school and later produced training films for the Israeli Defense Forces.
• The editors behind I MAY DESTROY YOU, EUPHORIA, and #BLACKAF join us to discuss their groundbreaking work.
• 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.

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.

DAY 2: Panels & Talks

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 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.

Thank you to our CCE staff:

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.

Panel #1: Documentary Confidential

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.

• He got his start writing and directing web-series, shorts and over a dozen food-based series with celebrity Chef Michael Smith.
• 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.
• Join the editor behind THE NATURE OF THINGS episode “The Covid Cruise” for a conversation about filmmaking in the Covid era.
• 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.
• As well, Mike has edited several award-winning documentaries, including Stories We Tell, for director Sarah Polley.
• She was also a Visiting Professor at UNCSA Film School, and a mentor in the Karen Schmeer Diversity in the Edit Room Program.
• Morsi received a scriptwriting grant for her feature film BOOTLEG, March 2016.

Chris Mutton

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.

Main Features

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.

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.

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.

The 5th 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.

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.

For over 25 years, Paul has worked as an online, offline and supervising editor, cutting everything from animatics, 2D/3D animation, and stop-motion. Projects include Freaky Stories, Angela Anaconda, Franny’s Feet, Iggy Arbuckle, Johnny Test, Glenn Martin DDS and Nature Cat. When given the chance to work on it, Paul thought that he would be nuts not to!

Isabelle Malenfant, CCE

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.

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

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.

He would go on to work steadily as an editor right up until his death in December 1999. “Kelly” Smith, CCE, was amongst the pioneers of electronic post production and widely known in the Toronto and L.A. His career began at CKNX-TV in Wingham, Ontario in the late 1960’s and flourished until his passing. Also premiering at TIFF was the feature documentary SILAS, executive produced by Leonardo DiCaprio’s Appian Way productions, which Chris came on board to complete. The documentary POPCORN AND MAPLE SYRUP that Chris co-edited for the CBC, won the Special Jury Award at Worldfest.

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.

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 mgm grand onion (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.

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.

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.