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The Editors Cut

Episode 106 – BLEEDING LOVE with Autumn Dea

Episode 106: BLEEDING LOVE with Autumn Dea

Episode 106 - BLEEDING LOVE with Autumn Dea

Today’s episode is a conversation with Autumn Dea.

She shares her journey into editing, her early interest in storytelling, the transition from advertising to long-form editing, and her experiences working on the film BLEEDING LOVE which was directed by Emma Westenberg starring Ewan McGregor and Clara McGregor. We discuss the emotional aspects of editing, the importance of collaboration with directors, and the challenges faced in the editing process.

Autumn Dea is a film, television, and commercial editor from Los Angeles, CA. Originally hailing from the Philadelphia, PA area, Dea graduated from Virginia Commonwealth University’s School of the Arts, with a Bachelor of Arts degree in film and a double minor in media studies and psychology. Dea’s unique editorial background has allowed her to work with various high-profile artists and actors, including Beyonce, Lizzo, Ewan McGregor, and Jay Duplass. Her most recent feature film BLEEDING LOVE, directed by Emma Westenberg and starring Ewan McGregor and Clara McGregor, world premiered at SXSW 2023. The film has already garnered industry praise and was chosen as one of the must-see films of the festival by Deadline’s SXSW 2023 Hotlist. Her most recent documentary feature film, LOVE, LIZZO (HBO Max), directed by Doug Pray and starring Grammy Award-winning musician and vocalist Lizzo, premiered on HBO Max in November 2022. Previously, her feature film, SHITHOUSE (IFC), directed by Cooper Raiff, won the Grand Jury Award for Best Narrative Feature at SXSW 2020 and was named Vanity Fair’s 10 Best Movies of 2020. Her work in television has also received accolades including an Emmy award for THE FUTURE OF AMERICA’S PAST (PBS), and inclusion in the Tribeca Film Festival for the documentary feature THE DEATH OF MY TWO FATHERS (PBS), directed by Sol Guy.

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The Editor’s Cut – Episode 030 – “What is Anti-Oppression? With Tenniel Brown”

Sarah Taylor [00:00:01]

Hello and welcome to The Editor’s Cut. I’m your host Sarah Taylor. At the CCE, we began our journey of self education with Anti-Oppression training in 2019. It was invaluable for us as it provided us with tools to assess how we as an organization could set a course of action to root our unconscious and systematic bias in our operations. This training is now a permanent part of our budget so future board members and volunteers can continue this work, and equity can be part of the fabric of our organization. We are offering a Lunch and Learn Introduction To Anti Oppressive Communication with Tenniel Brown on July 27. Today I’m lucky to be able to sit down with Tenniel Brown and discuss what Anti-Oppressive training is and what we can expect from this webinar. Tenniel Brown is a passionate anti-racist anti oppression and mental health speaker dedicated to improving the experiences of marginalized people in all institutional settings. She is the founder of the Centre For Anti-Oppressive Communication which specializes in providing anti oppressive, trauma-informed counseling, clinical supervision and organizational consulting, as well as customized workshops training and team retreats. I’m joined with Tenniel Brown, she is the founder of the Centre For Anti-Oppressive Communication based in Toronto. And we just want to have a little conversation about why anti oppression work is important in this and all days but specifically right now. So can you just tell us a little bit about your background and why you started the Center For Anti-Oppressive Communication.

Tenniel Brown [00:01:41]

My background is as a psychotherapist. So I spent I’ve spent many many years working with individuals and couples and families and groups helping them to access more of their well-being by addressing different mental health issues specifically trauma. One of the things that I specialize in addressing is racialized trauma. But also trauma that comes from folks that have experienced different types of oppression. And I think for most people that are called to this type of work it’s quite personal for me right. So often when you don’t see the work that you know needs to happen in the community taking place you create it. And so that was me. You know I think I saw that there was a need for organizations to have somebody come in and not just talk about diversity inclusion but talk about what happens when certain identities have power and that unbalance of power and how to actually address that in our communication. I knew that out in the community there were therapists and social workers that were wanting to do better work. You know work in the best practice way with clients that are black, racialized, queer, and trans, and had nowhere to go to get supervision and support. And finally I knew personally that there were so many folks that when they were ready to do therapy work they needed to see someone sitting across the office that looked like them or had a very similar lived experience and they just were not going to come unless that was the case. So all these things I knew was happening and nobody was doing it. And I said someone’s got to do something and that was me. I think what needs to come out of what’s happened in June is for folks to see black professionals and black community in in the in sort of like the the brilliance of what we do and it’s not uncommon that in many cases where we don’t see ourselves we create it. So yeah that was the spirit of and I think that when I started the organization I knew that it was important for there to be a place where folks from those different backgrounds could come and get that support and information. So it’s a real passion of mine. It is my baby and it’s so beautiful to see folks wanting this information during this time.

Sarah Taylor [00:04:01]

Yeah so important. Can you tell us what Anti-Oppression means and what someone can expect by taking an anti oppressive workshop?

Tenniel Brown [00:04:10]

Sure absolutely. So when you sort of break down the word anti oppression anti oppressive practice we take a look at that anti part and essentially that that just means opposition to oppression and then the practice part. So AOP… the practice part pertains to the context in which you are practicing opposition to oppression. So you can apply an anti oppressive lens to just about anything. And I’ve had the opportunity to work with organizations like Pride Toronto and work with your curators to apply an anti-oppressive lens to the way they do event organizing. I have applied an anti oppressive lens to the way I do therapy and clinical supervision with other therapists. You can apply an anti oppressive lens to teaching. You can apply it to student advising, you can apply it to just about anything. I’ve been working with fitness professionals looking at applying an anti oppressive lens to the way that they support folks that are on their fitness journey. So so it’s about looking at whatever practice whatever context you are working in and using that platform to be able to oppose oppression and all of its forms. So that’s essentially what it is.

Sarah Taylor [00:05:29]

And so when someone takes courses like anti oppressive communication course or participates in your courses what can they expect to be talking about or learning?

Tenniel Brown [00:05:37]

Absolutely so I think one of the most important things is to sort of pull back a little bit of you know the cover on this because I think anti oppressive language is its own language. It’s like Spanish. And you see so many people getting themselves into some rather serious trouble these days because they actually don’t know the language they don’t understand… in some ways the harm of some of the things that they’re doing and saying the deep harm of that. You get a lot of people who don’t really know how to talk about these issues. And so you go into a shame spiral and you just don’t talk. You just get very quiet and I always argue that you know the silence piece is a part of how we got ourselves into this trouble as a human society in the first place. So what I offer is something for everybody. I think over the years what folks have said to me is is even somebody who’s maybe got a social work background and knows about anti oppressive practice when they come to one of my trainings they find that they are moved further along in their application of that perspective around “OK, well what does this mean when I’m interacting with somebody right here in a one on one context.” Other people that are completely brand new have never had the chance to learn any of this language or understand any of these concepts have said over the years that they felt like they left with a really good sense of what this topic is. But not just that practical skills. I’m all about practical skills. I want to offer things that folks can use tomorrow today and the next day and my mission is also for folks to leave his training and talk about it. Tell a friend, tell a colleague, tell a family member, and feel equipped to be able to engage in these conversations. So when someone is saying or doing something problematic, you have this confidence in the skills to be able to interpret what’s going on there and to be able to talk to them and to be able to address it. The other thing that I do is I couch everything that I do in my trainings in a self care and team care perspective. And I think this is very important. We have to look after our emotions. We have to look after ourselves and we have to look after each other. I always say you could be as anti oppressive as you want but if you haven’t had any lunch… if you haven’t eaten anything… you’re not good.

Sarah Taylor [00:07:57]

You’ve got the hangries!

Tenniel Brown [00:07:59]

Trust me, Anti-Oppressive work requires patience. It requires empathy. It requires compassion and self compassion. You will fall down a lot and I find you know and I talk a lot about cancel culture and don’t get me wrong really that could be its own podcast.

Sarah Taylor [00:08:19]

Totally. Especially in this industry.

Tenniel Brown [00:08:22]

Look we need to talk about this and I get why certain people are being canceled for sure. And yet as someone who does this work I recognize that I’m so thankful I wasn’t canceled because over the years I’ve done and said things before I knew before I took a course like this before I had an opportunity to learn what was problematic about my lens. I’m so thankful that I was able to make those mistakes in a safe environment and actually benefit from that and grow. So people get a safe environment to learn language and understand what is going on, what is oppression, if oppression is so bad why don’t we just stop this. Well I unpack that for folks. Why is this so complicated and why doesn’t this just stop. And then I provide practical skills for folks to be able to apply this to their lives and their communication. I think the other thing that I think folks get is not just sort of a general whatever, you’ll find that I’m really interested in applying it to film editors and what it is that you do on a regular basis and looking at how you can use your platform to be able to actually oppose oppression.

Sarah Taylor [00:09:31]

Yeah well it’s like it’s huge I know for myself we did anti oppression workshop as a board for the CCE. I’m in an interracial marriage and so I thought “Oh I know a lot.” Like I’ve been unpacking this stuff for a while and understanding in my own way. But also like kind of like how do I say it to my white uncle who is racist like how do I approach that. And by taking that one course, like you said I got so much more understanding of where people might come from and the language and I could approach it not by just being angry because anytime I’d hear anything I was like “You’re talking about my husband, you’re talking about my child! This is not OK!” And so it made a huge impact on me and I felt like I kind of knew some stuff but I realized that there was so much more to learn. And I think I’m still learning and it’s opened up even conversations I’ve had with my husband and my in-laws… and so I think people who are in my situation are like “no I’m cool I got I’m married to so-and-so or I have my best friend or whatever.” You grew up in your lens and there’s way more to learn and unpack.

Tenniel Brown [00:10:41]

Absolutely. Absolutely it’s so true. And I always say that absolutely positively nobody gets a pass on this.

Sarah Taylor [00:10:48]

100 percent.

Tenniel Brown [00:10:49]

At all. You know myself as someone who identifies as a black fem queer woman, you know folks would be like well you know you of course you couldn’t oppress. And it’s like yes we are all susceptible to experiencing oppression and we are all oppressors. So I have aspects of my identity that allow me to have privilege. And the thing about this is that if you’re not aware of those things that’s how you harm people that’s how you engage in micro aggressions. You know what I mean? That’s how you you know get striking up a conversation with someone about your latest renovation in your house when this person is still renting and doesn’t even have access. These are the types of things that you’re never protected from. Right. Like you’re not protected from that in a certain way. So it’s really important to remember that.

Sarah Taylor [00:11:40]

Where should someone start if they’re like feeling overwhelmed they’re like wow I know that I need to make this change. I’ve seen all this information now on social media and I’m saying all the wrong things and like you said I’m just going to be quiet which is not the right thing to do. So where do they go and what should they focus on first to just like get into this mindset of making these changes?

Tenniel Brown [00:12:02]

That’s a great question. And what I would say is education. Not a coincidence right? So of course you know joining with you know your organization to offer this to the community because I think that’s step number one. I think we do need to have good information about… you need to educate yourself. I would say that it’s a really important first step to really listen, and I find even when you have more information and you have more training it even improves the way that you can listen because what you find is when you don’t have that knowledge there’s certain things that are sort of prevent you from even being open. So I find the training and the skills and the confidence that you get from doing the course like this allows you to even listen deeper right and understand more and I think that that’s step number one. I think that once… but don’t stay there! Because I think a lot of people oh I’m listening but really it’s just their guilt and shame. So yeah they’re still not doing anything but once you’ve had the chance to listen you now can start thinking more about your platform and I think that’s one of the most important thing for your listeners to know that if it’s like well I’m not a social worker I’m not a therapist what’s this got to do with me it’s like it has everything to do with you. You have a platform as a film editor and it’s important for you to acknowledge that there are big ways and small ways that you can make a difference. And we all have a responsibility. What’s happened in this world since COVID what’s happened in this world since June is we can no longer close our eyes to this. We have to look at this and all the years that we have stayed silent on this has been what’s caused the problem. So the reality is is that we all are called to use our platform to be able to address this to look around the room and be like who isn’t here? To look around your history of the films that you and different projects you’ve been involved in and being like how many of these people, how many of these stories featured stories that were outside of what we usually see? Right. And looking at the ways that you can use your platform and your influence to be able to make a change, so we’re all called to do that I don’t care if you’re a child care worker or a housekeeper do some working at a gas station, it literally doesn’t matter we’re all a part of this human society. We all have some sort of platform and so we all have a responsibility to do something. You know Sarah one of my favorite slogans that’s come out of the protest is “Silence is Violence.” I love that one because I know what happens when people don’t have education and knowledge. They go into a shame cycle they go into a guilt cycle and they go into fear and you know what happens there? Shh. And you know what, that doesn’t help anybody at all. So I recognize that these are difficult things for us to unpack but we all have a responsibility to use whatever platform we have to make a difference. So starting by educating yourself, listening a lot, and then that’s going to help you to be more open to what you can do. And then looking at your platform whether that be personal or professional to make a change.

Sarah Taylor [00:15:20]

That was perfect. Yeah. That’s huge. And even since I took my training and even just since I’ve done my own inner work I noticed like I wouldn’t pick certain shots anymore or there’ll be things in my edit where I’m like “that’s a stereotype” or “No that’s not going to work. We can’t do that we can’t have that.” And so I think if everybody’s doing that then what we’re seeing on screen can start changing.

Tenniel Brown [00:15:45]

Absolutely. Absolutely and there’s these you know there’s there’s big ways and then there’s little ways like you describe. So it’s it is about really curating your lens, right and making sure that you’re seeing more and I think training like this just helps you to really open up your lens. So you’re not just seeing directly what’s in front of you work to the side of you but it’s more of like a panoramic view which you folks really need in the work that you do.

Sarah Taylor [00:16:09]

100 percent. Yeah. Well I hope that our membership joins us. I know we’ve already been getting people RSVPing which is very exciting. On July 27 2020 to learn and to unpack and to take part and just hopefully we can continue to do stuff with you and just keep educating and making the changes we can make.

Tenniel Brown [00:16:28]

Yeah. Join us. Join us. Don’t hesitate folks. Be a part of this. I’m really looking forward to working with everybody. And you know what we’re gonna have fun. I know these topics are really heavy but we’re gonna have some fun and we’re really going to connect with each other as a community so I look forward to meeting everybody at this training.

Sarah Taylor [00:16:46]

Thank you so much for taking the time to chat with me today and I look forward to seeing you on the 27th and continuing my journey. So thank you for doing this for us and thank you for sharing your knowledge and your experience with the world. So thank you so much.

Tenniel Brown [00:16:59]

You’re so welcome. Thanks for having me.

Sarah Taylor [00:17:03]

Thank you so much for joining us today. And a big thank you goes to Tenniel Brown and a special thanks to Maureen Grant and Jane MacRae. If you’d like to connect with Tenniel, you can find her on Instagram @TennielBrown. If you’d like to bring Tenniel into your organization to learn more about anti oppressive work, you can check out her website at brownconsulting.com. I look forward to learning more from Tenniel on July 27 2020 at the CCE Lunch and Learn I hope to see you there. The CCE has been supporting BIPOC TV and FILM. BIPOC TV and FILM is a grassroots organization and collective of black, indigenous, and people of colour in Canada’s TV and film industry. From writers, directors, producers, and actors, to editors, crew members, and executives. Their members are a mix of emerging, mid-level, and established industry professionals. BIPOC TV and FILM is dedicated to increasing the representation of BIPOC both in front and behind the camera. If you would like to donate to BIPOC TV and FILM please head to their website at bipoctvandfilm.com. The CCE is taking steps to build a more equitable ecosystem within our industry and we encourage our members to participate in any way they can. 

The main title sound design was created by Jane Tattersall. Additional ADR recording by Andrea Rusch. Original music provided by Chad Blain. This episode was mixed and mastered by Tony Bao. If you’ve enjoyed this podcast, please rate and review us on Apple Podcasts and tell your friends to tune in. Til next time I’m your host Sarah Taylor.

Outtro

The CCE is a non-profit organization with the goal of bettering the art and science of picture editing. If you wish to become a CCE member please visit our website www.cceditors.ca. Join our great community of Canadian editors for more related info.

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Credits

A special thanks goes to

Alison Dowler

Hosted and Produced by

Sarah Taylor

Main Title Sound Design by

Jane Tattersall

ADR Recording by

Andrea Rusch

Mixed and Mastered by

Tony Bao

Original Music by

Chad Blain

Sponsor Narration by

Paul Winestock

Sponsored by

DGC Alberta

Categories
Articles Press Release

2025 CCE Award Nominees

2025 CCE Award Nominees

The Canadian Cinema Editors is thrilled to announce the nominees for the 2025 CCE Awards. Join us on Thursday, May 29th, 2025 for an evening celebrating excellence in editing at the Delta Hotel in Toronto with our host Richard Crouse.

Ticket sales will open this Friday! Congratulations to all our nominees!

Best Editing in an Animated Pre-School Series
Sponsored by: Canadian Cinema Editors

Bec Cranswick, Sophia Loffreda, Rachel Guergis & Dean Hannas – SPIDEY AND HIS AMAZING FRIENDS: EP. 323 – TOO MANY ZOLAS/ELECTRO’S GLOW SHOW
Chris Holmes, Tanner Adams, Chris Avery & Sean Avery – OCTONAUTS- ABOVE & BEYOND: EP. 10 – ALPINE SWIFT
Marc Brenzil – ROSIE’S RULES: EP. 140 – ROSIE MAKES THE RULES/IGGY’S DINO CAKE
Paul Hunter, CCE & Katie Tomchishen – NATURE CAT’S NATURE MOVIE SPECIAL EXTRAORDINAIRE
Paul Hunter, CCE & Katie Tomchishen – SUPERBUNS: EP. 134 – A STICKY SITUATION

 

Best Editing in Animation
Sponsored by: Annex Pro

Ellery Vandooyeweert – THE DEATH OF JAMES
Greg Canning, Tom Masterman, Ryan Jobling & Leland Miller – CAMP SNOOPY: EP. 12 – THE CHEWING GUM DILEMMA
Mary Dorich & John Logan – TOTAL DRAMA ISLAND REBOOT: EP. 213 – SOAR LOSERS
Tom Berger – OPEN SEASON, CALL OF NATURE: EP. 19A – WHAT A CHINOOK
Vanessa Seecharran & Jeff Seibenick – SAUSAGE PARTY, FOODTOPIA: EP. 107 – SEVENTH COURSE

 

Best Editing in Competition / Reality
Sponsored by: Boris FX

Andrew Gurney & Michael Tersigni, CCE – THE AMAZING RACE CANADA: EP. 1005 – I SMELL LIKE A CARCASS
Beth Biederman – CANADA’S DRAG RACE: EP. 502 – GREETINGS QUEENLINGS
Jeff Perry – BLOWN AWAY: EP. 406 – THE KIDS ARE ALRIGHT
Kailey Birk – CANADA’S DRAG RACE CANADA VS THE WORLD: EP. 204 – READING BATTLES
Peter Topalovic – CANADA’S DRAG RACE: EP. 501 – GO OFF QUEEN

 

Best Editing in Documentary Feature
Sponsored by: Rolling Pictures

Brendan Mills – SWAN SONG
Hubert Hayaud – THE MAN I LEFT BEHIND
Marie-Pier Grignon – OKURIMONO
Mike Munn, CCE – ANY OTHER WAY- THE JACKIE SHANE STORY
Ryan Mullins – YINTAH


Best Editing in Documentary Short Form
Sponsored by: DGC National

Anouk Deschênes – L’ARTIFICE
Carole Larsen, CCE & Swapna Mella, CCE – NO WAY TO DIE
David Valiquette – 6 MOIS POUR APPRENDRE LE FRANÇAIS
Kara Blake – AM I THE SKINNIEST PERSON YOU’VE EVER SEEN?
Louis Moulin – CHIEN DE SANG


Best Editing in Docu-series / Docu-drama
Sponsored by: Canadian Cinema Editors

Andres Landau & Yong Eui Zong – THE KNOWING EP. 102: STEALING CHILDREN
Georgia Milroy & Alec MacNeill Richardson – IN COLD WATER, THE SHELTER BAY MYSTERY: EP. 101 – DOWN UNDER
Kailey Birk – HOW I GOT HERE: EP. 206 – VIETNAM: PEARLS OF THE DRAGON
Peter Denes – THE TRAGICALLY HIP: NO DRESS REHEARSAL: EP. 102 – ON THE VERGE
Roderick Deogrades, CCE – WE’RE ALL GONNA DIE (EVEN JAY BARUCHEL): EP. 206 – THE END OF JAYS

Best Editing in Lifestyle
Sponsored by: Canadian Cinema Editors 

Francis Cana – BREAKING NEW GROUND: EP. 101 – PARLOR
Justin Ingraldi & Jeff Fowler – CELEBRITY IOU: EP. 807 – ZACH BRAFF SCRUBS IN FOR A SPECIAL OPERATION
Lindsay Ragone – TRIXIE MOTEL- DRAG ME HOME: EP. 101 – OH HONEY! I’M HOME!
Peter Hordylan – CELEBRITY IOU: EP. 706 – ROSARIO DAWSON
Tom N. – MADE FOR TV WITH BOMAN MARTINEZ-REID: EP. 101 – REALITY DATING


Best Editing in a Live Action Series or MOW for Children & Youth
Sponsored by: DGC Ontario

Charles Boisseau, Léonie Tremblay-Clavette, Alexandre Dionne & Philippe Beauchemin – LA SOIRÉE MAMMOUTH 2024
Fabiola Caraza – THE POPULARITY PAPERS: EP. 126 – THE WONDERFUL WIZARD OF MAPLEVIEW PART 2
Jane MacRae – GANGNAM PROJECT: EP. 101 – PILOT
Lindsay Ragone – ALL-ROUND CHAMPION: EP. 601 – ARCATHLON
Mike Reisacher – THE POPULARITY PAPERS: EP. 123 – NOTES ON A VANDAL

Best Editing in Feature Film
Sponsored by: Coma Edits

Arthur Tarnowski, CCE – SISTERS AND NEIGHBOURS (NOS BELLES SOEURS)
Cam McLauchlin, CCE & Blair McClendon – THE LAST SHOWGIRL
Carina Baccanale – MLLE BOTTINE
Justin Li – HERETIC
Sandy Pereira – YOUNG WERTHER

Best Editing in MOW
Sponsored by: IATSE 891

Alvin Campana – ROMANCE WITH A TWIST
Gloria Tong – FRIDAY NIGHT SEXT SCANDAL
Gordon Rempel, CCE – GILDED NEWPORT MYSTERIES- MURDER AT THE BREAKERS
Jason Irvine – AURORA TEAGARDEN – A LESSON IN MURDER
Michael Doherty, CCE – WYNONNA EARP- VENGEANCE

Best Editing in a Short Film
Sponsored by: City of Toronto

Amélie Labrèche – BAIL BAIL
Ashley Gilmour – ON A SUNDAY AT ELEVEN
Brendan Mills – ARE YOU SCARED TO BE YOURSELF BECAUSE YOU THINK THAT YOU MIGHT FAIL?
Maria Bykina – THORN (CÌ)
Myriam Magassouba – À TOI LES OREILLES

Best Editing in TV Comedy
Sponsored by: Vanguarde Management Artists

Arthur Tarnowski, CCE – THE STICKY: EP. 106 – APEX
Baun Mah – RUN THE BURBS: EP. 312 – VAS DEPHRENS
Baun Mah – LATE BLOOMER: EP. 104 – THE TURBAN
Myriam Coulombe – LE RETOUR D’ANNA BRODEUR: EP. 104 – COCKTAILS MOLOTOV
Stein Myhrstad – WILD CARDS: EP. 101 – THE INFINITY THIEF


Best Editing in TV Drama / Mini Series
Sponsored by: Purple Dog Post

David Di Francesco – SOCIÉTÉ DISTINCTE: EP. 101 – LA DISPARITION
Isabelle Desmarais – IN MEMORIAM: EP. 101
Jorge Weisz, CCE – CROSS: EP. 103 – THE GOOD BOOK
Justin Lachance, CCE – IXE-13: EP. 8 – LE POINT DE RUPTURE
Lisa Grootenboer, CCE – CHUCKY: EP. 308 – FINAL DESTINATION
Nicholas Wong, CCE – SNOWPIERCER: EP. 402 – THE STING OF SURVIVAL


Best Editing in Web Series / Digital Content
Sponsored by : Canadian Cinema Editors

Ashley Brook, Kyle Cucco & David Schmidt – CANADIANA: EP. 310 – THE GRISLY HISTORY OF THE RIDEAU CANAL
Becky Swannick – EVERYBODY’S MEG – MEG WORKS OUT
Charles Boisseau – LA DERNIÈRE COMMUNION: EP. 102 – LA CONVERSION
Jean-Philippe Gagnon – COBAYE: EP. 303 – NICO PART À LA CHASSE À L’ORIGNAL
Zoé Guèvremont – DISCRÈTES: EP. 3 – C’EST QUOI L’PLAN?

Lifetime Achievement Award 
Sponsored by: Canadian Cinema Editors
Jeff Warren, CCE and Yves Langlois, CCE (1941-2024)


Career Achievement Award 
Sponsored by: Canadian Cinema Editors
Gregor Hutchison (1958 – 2020)


Student Award of Merit 
Sponsored by: Take 5 Productions
Announcing in early May 


Assistant Editor Recognition Award 
Sponsored by: Insight Productions
Announcing in early April

With Thanks To Our Sponsors

Categories
Articles Press Release

The Canadian Cinema Editors announces the recipients of the 2025 Lifetime Achievement Award and Career Achievement Award 

Lifetime Achievement and Career Achievement Award - 2025 Press Release

Toronto, April 7th, 2025 – The Canadian Cinema Editors (CCE) is pleased to announce that Jeff Warren, CCE and Yves Langlois, CCE (1941-2024), are the recipients of the 2025 Lifetime Achievement Award. Gregor Hutchison (1958 – 2020) is the recipient for the Career Achievement Award. The CCE will present these awards at the 15th Annual CCE Awards on May 29th, 2025 at the Delta Hotel in Toronto.

Our full list of CCE Award nominees will be announced on April 14!  Please visit our website for more information.

Lifetime Achievement Award

Jeff Warren, CCE

Jeff Warren, freelance film editor, worked in Canada for over 45 years. He freely moved between feature films, television drama and feature documentaries.

Over the years Jeff worked with many of Canada’s top directors including Norma Bailey (THE SHELDON KENNEDY STORY), John Candy (HOSTAGE FOR A DAY), John Fawcett (THE BRIDGE), Sturla Gunnarsson (SUCH A LONG JOURNEY), Colleen Murphy (DESIRE), Don McBrearty (THE INTERROGATION OF MICHAEL CROWE), Sudz Sutherland (HOME AGAIN), John Walker (A DRUMMER’S DREAM), Larry Weinstein (THE 13TH MAN), David Wellington (DEAD AVIATORS), Peter Wellington (JOE’S SO MEAN TO JOSEPHINE), Nettie Wild Blockade and Gary Yates (HIGH LIFE).

In addition to editing, Jeff mentored at The Canadian Film Centre, has given talks and workshops at York University, Toronto Metropolitan University (formally Ryerson) and Confederation College. He has won two Hot Docs Awards, three Gemini Awards, four Directors Guild Awards and a Genie Award, all for editing. He has been nominated many more times, including an Emmy nomination in the U.S.

Lifetime Achievement Award

Yves Langlois, CCE (1941 - 2024)

With a career spanning over six decades, Yves Langlois was one of Canada’s most talented, prolific, and sought-after film and television editors. Born in Montreal in 1941, he began his artistic journey at the National Film Board (NFB) in the early 1960s and went on to edit over 125 films and television series.

A gifted artist and master storyteller, Langlois collaborated with some of the most renowned filmmakers from Canada and around the world, including Gilles Carle, Jean-Jacques Annaud , Claude Chabrol, Christian Duguay, Yves Simoneau and Philippe Borsos.

A mentor to many, Langlois remained a humble and discreet man but was always eager to share the remarkable stories from his editing experiences. His dedication to his craft never wavered, even after relocating to France. There, he continued editing with director Josée Dayan (FRED VARGAS, CAPITAINE MARLEAU) until his passing last October at the age of 84.

Langlois’s work earned him numerous accolades, including a Genie Award (QUEST FOR FIRE), a Gémeaux Award (HE SHOOTS, HE SCORES), a Gemini Award (MILLION DOLLAR BABIES), as well as several nominations. He helped shape the performances of some of cinema’s most legendary actors, including Marlon Brando, Sophia Loren, Tony Curtis, Isabelle Huppert, Jodie Foster, Ben Kingsley, Brian Cox and many others. At the 1997 Montreal premiere of The Assignment, one of his longtime collaborators, Donald Sutherland, who appeared in six films edited by Langlois, praised his immense talent, saying, “Yves, you make us all better.”

Career Achievement Award

Gregor Hutchison (1958 - 2020)

Gregor Hutchison was always passionate about film, along with science fiction, new technologies, and comics. While studying at the University of Western Ontario, he took film theory courses and became truly enamoured. He later enrolled at Toronto Metropolitan University (formally Ryerson), where he earned a second BA in Film Production.

He began his career in the editing department at Nelvana, and except for a few brief stints as a story editor, Gregor dedicated his entire, prolific career to post-production. His extensive resume includes work on nearly a hundred projects, ranging from animated and live-action films to TV shows and miniseries. Notable projects included RESIDENT EVIL, THE HATFIELDS AND MCCOYS, SILENT HILL, and THE NUT JOB. Gregor passed away while working on LOCKE & KEY, a project he was immensely proud of, along with much of his previous work.

He thrived in the collaborative nature of post-production, loving both the creative and technical aspects. Always keen to adopt new techniques and technologies, he fostered a passion for innovation. He formed many lifelong friendships with editors and post-production teams throughout his career. As a respected and influential post-production supervisor, Gregor’s impact on the industry will always be remembered.

About the Lifetime Achievement Award
This recognition is presented to an editor who has elevated the craft of picture editing, has contributed to the editing community and demonstrated a passion for editing.

About the Career Achievement Award
This recognition is presented to a member of the broader film community who has shown great support for Canadian editors and the editorial profession over the course of their career.

About the Canadian Cinema Editors (CCE)
The Canadian Cinema Editors (CCE) is a bilingual not-for-profit organization fuelled by the passion of its Canada-wide post-production membership. We are dedicated to meeting the needs of our growing member base through cultivating an environment of learning, community and inclusivity. Ultimately, we are here to showcase our world-class talents at the forefront of the Canadian Film Industry and internationally.

Follow us on Facebook, LinkedIn and Instagram.   www.cceditors.ca

Media contact:
Alison Dowler: Operations Manager
Canadian Cinema Editors – alison@cceditors.ca

With thanks to our sponsors:

Categories
Articles

2025 Canadian Screen Award Nominations

2025 Canadian Screen Award Nominations

CSA Logo

Congratulations to our CCE members who were nominated for a 2025 Canadian Screen Award!

Best Picture Editing, Drama 

  • D. Gillian Truster, CCE – SIGHT UNSEEN – TESS
  • Greg Ng, CCE & Roderick Deogrades, CCE (+1 editor) – BONES OF CROWS – TO BE SEPARATED
  • John Nicholls, CCE – LAW & ORDER TORONTO: CRIMINAL INTENT – THE MINNOW AND THE SHARK 
  • Wendy Hallam Martin, CCE – LAW & ORDER TORONTO: CRIMINAL INTENT – THE KEY TO THE CASTLE
  • Véronique Barbe, CCE – SO LONG, MARIANNE – THE CHELSEA HOTEL

Best Picture Editing, Factual

  • Andrew King – BOLLYWED – OPENING JITTERS
  • Clark Masters (+5 editors) – HOUSE OF ALI – A JERSEY SHORE MOMENT

Best Picture Editing, Documentary 

  • Ania Smolenskaia – PLASTIC PEOPLE: THE HIDDEN CRISIS OF MICROPLASTICS
  • Cathy Gulkin, CCE – NUKED
  • Ken Yan – HAIRY TALES
  • Peter Denes – THE TRAGICALLY HIP: NO DRESS REHEARSAL – PART TWO: ON THE VERGE
  • Ryan Monteith – HARDER BETTER FASTER STRONGER

Best Picture Editing, Reality/Competition

  • Al Manson, CCE, Jonathan Dowler, CCE, Jeff Perry, Curtis Rogers (+14 editors) – CANADA’S ULTIMATE CHALLENGE – THE HANDSHAKE
  • Curtis Rogers (+4 editors) – BEST IN MINIATURE – TAKE IT OUTSIDE – THE FINALE
  • Kailey Birk, Elianna Borsa, Jonathan Dowler, CCE, Michael Emberley, Wesley Finucan, Al Manson, CCE, Jeff Perry, Lindsay Ragone, Mike Scott & Nathara Imenes (+14 editors) – BIG BROTHER CANADA – EPISODE 18
  • Mike Scott (+4 editors) – TOP CHEF CANADA – THE FEAST OF TORONTO

Best Picture Editing, Comedy

  • Baun Mah – LATE BLOOMER – THE TURBAN
  • Baun Mah – RUN THE BURBS – PHRIGHT NIGHT
  • Gloria Tong – DON’T EVEN – STINKY AND THE MAN’S BATTLE OF THE BANDS 1998
  • Kyle Martin, CCE – LETTERKENNY – LIVE AT MODEAN’S
  • Pauline Decroix – SON OF A CRITCH – GO INTO THE LIGHT

Best Picture Editing, Children’s or Youth

  • Andrea Novoa (+1 editor) – THE FABULOUS SHOW WITH FAY AND FLUFFY – I LOVE MY NAME!

Achievement in Editing

  • Anna Catley – PAYING FOR IT
  • Anna Catley – WE FORGOT TO BREAK UP
  • Christopher Donaldson, CCE – THE SHROUDS
  • Jorge Weisz, CCE – SHARP CORNER
  • Xi Feng – UNIVERSAL LANGUAGE | UNE LANGUE UNIVERSELLE

Best Editing in a Feature Length Documentary

  • Marie-Pier Grignon – OKURIMONO

Best Picture Editing, Web Program or Series 

  • Becky Swannick – EVERYBODY’S MEG – MEG WORKS OUT
  • Maureen Grant, CCE – MY DEAD MOM – SHANA TOVA
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The Editors Cut

Episode 105 – EditCon 2024: Exploring Documentary

Episode 105 - EditCon 2024: Exploring Documentary

Series Sponsor:
DGC Alberta_2024_SPON

Today's episode is a panel from EditCon 2024 that took place in Edmonton, Alberta-- EXPLORING DOCUMENTARY.

Krystal Moss, Weyme Teeter, Colin Waugh and Sarah Taylor, CCE share their insights and experiences and explore the art of storytelling through the lens of editing and talk about their creative process behind the captivating Alberta-made documentaries; THE LEBANESE BURGER MAFIA, SEND KELP, PUSH, BLIND AMBITION: WOP MAY and ARTHUR ERICKSON’S DYDE HOUSE.

This panel was moderated by Guy Lavallee, a documentary filmmaker and festival programmer.

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Subscribe Wherever You Get Your Podcasts

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Credits

A special thanks goes to

Alison Dowler

Hosted and Produced by

Sarah Taylor

Main Title Sound Design by

Jane Tattersall

ADR Recording by

Andrea Rusch

Mixed and Mastered by

Tony Bao

Original Music by

Chad Blain

Sponsor Narration by

Paul Winestock

Sponsored by

DGC Alberta

Categories
Articles

2024 Emmy Winner

2024 Emmy Winner

2024 emmy winner

Congratulations to Lindsay Ragone (+ 3 editors) who won an Emmy Award for All Round Champion.

Editing for a Multiple Camera Live Action Program
Lindsay Ragone (+ 3 editors) – All Round Champion

Categories
Past Events

Victory Social Club in partnership with Canadian Cinema Editors

Victory Social Club in partnership with Canadian Cinema Editors
March 13th, 2025

This event took place on March 13, 2025

Join us on Thursday March 13th for a casual mixer and an opportunity to connect with Toronto’s local community of editors.  Share stories, challenges, work and get inspired.  We invite you to share your work at the event, by submitting a short clip of your work (under 5 min) to be projected at the event. To do so, please email alison@cceditors.ca 

Please note that due to demand it is possible that not all clips will be screened at this event. If we are unable to screen your clip we will be in touch about showing it at future events.

Light refreshments and drinks will be provided, please BYOB.

Victory Social: 1166a Dundas Street W

About the Event

March 2025

7pm ET

Canada

Categories
Articles

15th Annual CCE Awards

2025 CCE Awards
Ceremony
The Awards will take place on May 29th, 2025 at the Delta Hotel in Toronto.

Ticket sales have closed.

Please email Alison (alison@cceditors.ca) to see if any tickets are available.

List of Nominees

WINNERS: Vanessa Seecharran & Jeff Seibenick – SAUSAGE PARTY, FOODTOPIA: EP. 107 – SEVENTH COURSE

Ellery Vandooyeweert – THE DEATH OF JAMES

Greg Canning, Tom Masterman, Ryan Jobling & Leland Miller – CAMP

SNOOPY: EP. 12 – THE CHEWING GUM DILEMMA

Mary Dorich & John Logan – TOTAL DRAMA ISLAND REBOOT: EP. 213 – SOAR LOSERS

Tom Berger – OPEN SEASON, CALL OF NATURE: EP. 19A – WHAT A CHINOOK

Sponsored by: Annex Pro

WINNERS: Paul Hunter, CCE & Katie Tomchishen – NATURE CAT’S NATURE MOVIE SPECIAL EXTRAORDINAIRE

Bec Cranswick, Sophia Loffreda, Rachel Guergis & Dean Hannas – SPIDEY AND HIS AMAZING FRIENDS: EP. 323 – TOO MANY ZOLAS/ELECTRO’S GLOW SHOW

Chris Holmes, Tanner Adams, Chris Avery & Sean Avery – OCTONAUTS- ABOVE & BEYOND: EP. 10 – ALPINE SWIFT

Marc Brenzil – ROSIE’S RULES: EP. 140 – ROSIE MAKES THE RULES/IGGY’S DINO CAKE

Paul Hunter, CCE & Katie Tomchishen – SUPERBUNS: EP. 134 – A STICKY SITUATION

Sponsored by: Canadian Cinema Editors

WINNER: David Valiquette – 6 MOIS POUR APPRENDRE LE FRANÇAIS

Anouk Deschênes – L’ARTIFICE

Carole Larsen, CCE & Swapna Mella, CCE – NO WAY TO DIE

Kara Blake – AM I THE SKINNIEST PERSON YOU’VE EVER SEEN?

Louis Moulin – CHIEN DE SANG

Sponsored by: DGC National

WINNER: Ryan Mullins – YINTAH

Brendan Mills – SWAN SONG

Hubert Hayaud – THE MAN I LEFT BEHIND

Marie-Pier Grignon – OKURIMONO

Mike Munn, CCE – ANY OTHER WAY- THE JACKIE SHANE STORY

Sponsored by: Rolling Pictures

WINNER: Brendan Mills – ARE YOU SCARED TO BE YOURSELF BECAUSE YOU THINK THAT YOU MIGHT FAIL?

Amélie Labrèche – BAIL BAIL

Ashley Gilmour – ON A SUNDAY AT ELEVEN

Maria Bykina – THORN (CÌ)

Myriam Magassouba – À TOI LES OREILLES

Sponsored by: City of Toronto

WINNER: Peter Denes – THE TRAGICALLY HIP: NO DRESS REHEARSAL: EP. 102 – ON THE VERGE

Andres Landau & Yong Eui Zong – THE KNOWING: EP. 102 – STEALING CHILDREN

Georgia Milroy & Alec MacNeill Richardson – IN COLD WATER, THE SHELTER BAY MYSTERY: EP. 101 – DOWN UNDER

Kailey Birk – HOW I GOT HERE: EP. 206 – VIETNAM: PEARLS OF THE DRAGON

Roderick Deogrades, CCE – WE’RE ALL GONNA DIE (EVEN JAY BARUCHEL): EP. 206 – THE END OF JAYS

Sponsored by: Canadian Cinema Editors

WINNER: Zoé Guèvremont – DISCRÈTES: EP. 3 – C’EST QUOI L’PLAN?

Ashley Brook, Kyle Cucco & David Schmidt – CANADIANA: EP. 310 – THE GRISLY HISTORY OF THE RIDEAU CANAL

Becky Swannick – EVERYBODY’S MEG – MEG WORKS OUT

Charles Boisseau – LA DERNIÈRE COMMUNION: EP. 102 – LA CONVERSION

Jean-Philippe Gagnon – COBAYE: EP. 303 – NICO PART À LA CHASSE À L’ORIGNAL

Sponsored by: Canadian Cinema Editors

Aaron Timizar, Sarah Landreville, Victor Dumouchel & Esteban Berger – ATM EST DE RETOUR (Cégep de Jonquière)

Adrienne Eagleson – A TICKET HOME (Sheridan College)

Aidan Vachon – COSMONAUT (Sheridan College)

Julie Bor & Gabrielle Côté – DES GENS VIVENT ICI (Université du Québec à Montréal)

Monark Arora – DOSA (Centennial College)

Sponsored by: Take 5 Productions

WINNER: Lindsay Ragone – ALL-ROUND CHAMPION: EP. 601 – ARCATHLON

Charles Boisseau, Léonie Tremblay-Clavette, Alexandre Dionne & Philippe Beauchemin – LA SOIRÉE MAMMOUTH 2024

Fabiola Caraza – THE POPULARITY PAPERS: EP. 126 – THE WONDERFUL WIZARD OF MAPLEVIEW PART 2

Jane MacRae – GANGNAM PROJECT: EP. 101 – PILOT

Mike Reisacher – THE POPULARITY PAPERS: EP. 123 – NOTES ON A VANDAL

Sponsored by: DGC Ontario

WINNER: Jeff Perry – BLOWN AWAY: EP. 406 – THE KIDS ARE ALRIGHT

Andrew Gurney & Michael Tersigni, CCE – THE AMAZING RACE CANADA: EP. 1005 – I SMELL LIKE A CARCASS

Beth Biederman – CANADA’S DRAG RACE: EP. 502 – GREETINGS QUEENLINGS

Kailey Birk – CANADA’S DRAG RACE CANADA VS THE WORLD: EP. 204 – READING BATTLES

Peter Topalovic – CANADA’S DRAG RACE: EP. 501 – GO OFF QUEEN

Sponsored by: Boris FX

WINNER: Stein Myhrstad – WILD CARDS: EP. 101 – THE INFINITY THIEF

Arthur Tarnowski, CCE, ACE – THE STICKY: EP. 106 – APEX

Baun Mah – RUN THE BURBS: EP. 312 – VAS DEPHRENS

Baun Mah – LATE BLOOMER: EP. 104 – THE TURBAN

Myriam Coulombe – LE RETOUR D’ANNA BRODEUR: EP. 104 – COCKTAILS MOLOTOV

Sponsored by: Vanguarde Artists Management

WINNER: Lindsay Ragone – TRIXIE MOTEL- DRAG ME HOME: EP. 101 – OH HONEY! I’M HOME!

Francis Cana – BREAKING NEW GROUND: EP. 101 – PARLOR

Justin Ingraldi & Jeff Fowler – CELEBRITY IOU: EP. 807 – ZACH BRAFF SCRUBS IN FOR A SPECIAL OPERATION

Peter Hordylan – CELEBRITY IOU: EP. 706 – ROSARIO DAWSON

Tom N. – MADE FOR TV WITH BOMAN MARTINEZ-REID: EP. 101 – REALITY DATING

Sponsored by: Canadian Cinema Editors

WINNER: Gloria Tong – FRIDAY NIGHT SEXT SCANDAL

Alvin Campana – ROMANCE WITH A TWIST

Gordon Rempel, CCE – GILDED NEWPORT MYSTERIES: MURDER AT THE BREAKERS

Jason Irvine – AURORA TEAGARDEN: A LESSON IN MURDER

Michael Doherty, CCE – WYNONNA EARP: VENGEANCE

Sponsored by: IATSE 891

WINNER: Isabelle Desmarais – IN MEMORIAM: EP. 101

David Di Francesco – SOCIÉTÉ DISTINCTE: EP. 101 – LA DISPARITION

Jorge Weisz, CCE – CROSS: EP. 103 – THE GOOD BOOK

Justin Lachance, CCE – IXE-13: EP. 8 – LE POINT DE RUPTURE

Lisa Grootenboer, CCE – CHUCKY: EP. 308 – FINAL DESTINATION

Nicholas Wong, CCE – SNOWPIERCER: EP. 402 – THE STING OF SURVIVAL

Sponsored by: Purple Dog Post

WINNER: Justin Li – HERETIC

Arthur Tarnowski, CCE, ACE – SISTERS AND NEIGHBOURS (NOS BELLES SOEURS)

Cam McLauchlin, CCE & Blair McClendon – THE LAST SHOWGIRL

Carina Baccanale – MLLE BOTTINE

Sandy Pereira – YOUNG WERTHER

Sponsored by: Coma Edits

Alexander Desouza – DISCO’S REVENGE

Lester Lubuguin – DAVEY & JONESIE’S LOCKER

Mary Juric – 40 ACRES

Thomas Therrien – RUBBLE & CREW

Véronique Mélançon – GHOSTS

Sponsored by: Insight Productions

Special Award Recipients

Jeff Warren, freelance film editor, worked in Canada for over 45 years. He freely moved between feature films, television drama and feature documentaries.

Over the years Jeff worked with many of Canada’s top directors including Norma Bailey (THE SHELDON KENNEDY STORY), John Candy (HOSTAGE FOR A DAY), John Fawcett (THE BRIDGE), Sturla Gunnarsson (SUCH A LONG JOURNEY), Colleen Murphy (DESIRE), Don McBrearty (THE INTERROGATION OF MICHAEL CROWE), Sudz Sutherland (HOME AGAIN), John Walker (A DRUMMER’S DREAM), Larry Weinstein (THE 13TH MAN), David Wellington (DEAD AVIATORS), Peter Wellington (JOE’S SO MEAN TO JOSEPHINE), Nettie Wild Blockade and Gary Yates (HIGH LIFE).

In addition to editing, Jeff mentored at The Canadian Film Centre, has given talks and workshops at York University, Toronto Metropolitan University (formally Ryerson) and Confederation College. He has won two Hot Docs Awards, three Gemini Awards, four Directors Guild Awards and a Genie Award, all for editing. He has been nominated many more times, including an Emmy nomination in the U.S.

With a career spanning over six decades, Yves Langlois was one of Canada’s most talented, prolific, and sought-after film and television editors. Born in Montreal in 1941, he began his artistic journey at the National Film Board (NFB) in the early 1960s and went on to edit over 125 films and television series.

A gifted artist and master storyteller, Langlois collaborated with some of the most renowned filmmakers from Canada and around the world, including Gilles Carle, Jean-Jacques Annaud , Claude Chabrol, Christian Duguay, Yves Simoneau and Philippe Borsos.

A mentor to many, Langlois remained a humble and discreet man but was always eager to share the remarkable stories from his editing experiences. His dedication to his craft never wavered, even after relocating to France. There, he continued editing with director Josée Dayan (FRED VARGAS, CAPITAINE MARLEAU) until his passing last October at the age of 84.

Langlois’s work earned him numerous accolades, including a Genie Award (QUEST FOR FIRE), a Gémeaux Award (HE SHOOTS, HE SCORES), a Gemini Award (MILLION DOLLAR BABIES), as well as several nominations. He helped shape the performances of some of cinema’s most legendary actors, including Marlon Brando, Sophia Loren, Tony Curtis, Isabelle Huppert, Jodie Foster, Ben Kingsley, Brian Cox and many others. At the 1997 Montreal premiere of The Assignment, one of his longtime collaborators, Donald Sutherland, who appeared in six films edited by Langlois, praised his immense talent, saying, “Yves, you make us all better.”

Gregor Hutchison was always passionate about film, along with science fiction, new technologies, and comics. While studying at the University of Western Ontario, he took film theory courses and became truly enamoured. He later enrolled at Toronto Metropolitan University (formally Ryerson), where he earned a second BA in Film Production.

He began his career in the editing department at Nelvana, and except for a few brief stints as a story editor, Gregor dedicated his entire, prolific career to post-production. His extensive resume includes work on nearly a hundred projects, ranging from animated and live-action films to TV shows and miniseries. Notable projects included RESIDENT EVIL, THE HATFIELDS AND MCCOYS, SILENT HILL, and THE NUT JOB. Gregor passed away while working on LOCKE & KEY, a project he was immensely proud of, along with much of his previous work.

He thrived in the collaborative nature of post-production, loving both the creative and technical aspects. Always keen to adopt new techniques and technologies, he fostered a passion for innovation. He formed many lifelong friendships with editors and post-production teams throughout his career. As a respected and influential post-production supervisor, Gregor’s impact on the industry will always be remembered.

Ceremony

Join us on Thursday, May 29th, 2025 for an evening celebrating excellence in editing at the Delta Hotel in Toronto.
Cocktails begin at 6pm, dinner is served at 7:30pm.

Ticket Sales have now closed.  Please email Alison (alison@cceditors.ca) if you would like to see if any tickets are available.

There are no tickets sold at the door, as all meals must be ordered in advance.

——

Cocktails begin at 6pm, dinner is served at 7:30pm.

——

CCE Members who are nominated – we have a SPECIAL price for you, please email Alison Dowler (alison@cceditors.ca) for details. 

If you are not a member of the Canadian Cinema Editors, but would like to become a member (and buy a ticket at the member price or CCE Member nominated price), JOIN HERE.

Please note: Members can only buy member-priced ticket for themselves. Friends and family must be purchased as non-members.  

Sponsors, please email Alison Dowler (alison@cceditors.ca) to obtain your tickets. 

Celebrating Assistant Editors


The following are the Assistant Editors who worked on this year's nominated projects:

Mark Allison
Dante Antognetti
Frédéric Bernard
Alex Balchi
Kirk Best
Myriam Boileau
Roxanne Bonneterre
Patrick Borgers
Simon Box
Todd Buttenham
Louis Casado
Alex Corej
Elliott Coulture
Andreanne Cousineau
Cassidy Croft
Amy Davis
James Davis
Philippine DeSars
Jeannick Desjardins
Joanne Drouin Laplante
Ivan Dubarev
Damien Eagle Bear
Darren Fabrequettes
Dilan Farrell
Luis Figueroa-Ducharme
Angela Fong
William Gagnon
Chad Glastonbury
Philippe Goulet
Raphael Grandmont
Megan Halligan
Howard Hamilton
Hongku Han
Steven Hayes
Bahar Hessabi
Michael Heuston
Chengzhi Jin
Rehan Khokhar
Jennifer Kidson
Paul Kwan
Lisa Kwon

Cindy Langelier
Brittany Lewis
Rashayn Levy
Sean Mark Lamb Lewis
Cody Mcdonald
Lana McLean
Aiden McMahon
Véronique Mélançon
Gloria Mercer
Anna Miltenburg
Dylan Murray
Rebekah Nearing
Petros Neguse
Pranay Nichani
Marie Noel Arseneau
Jacob Nosan
Harrison Perez
Kyle Pike
Saul Pincus
Valérie Précourt
Julie Prolux
Maxin Rheault
Akeylah Rivero
Nadin Rizk
Geneviéve Roberge
Jordan Scriver
Daniel Shulkin
Joshua Solmon
Jasmine Stafford
Maja Suchowuerski
Javier Sinisterra
Kynan Tait
David Tarnawsky
Kallen Treadwell
Vincent Tremblay
Kelvin Tseng
Courtney Wong
Isabelle Wong
Lois Yap
Adoniyas Yegezu
James Young

Our Host Richard Crouse

Richard Crouse Host CCE AwardsRichard Crouse is the regular film critic for the 24 hour news sources CTV’s News Channel and CP24 and is a frequent guest on many national Canadian radio and television shows. His nationally syndicated Saturday afternoon radio show, THE RICHARD CROUSE SHOW, originates on News Talk 1010 in Toronto. He is also the author of ten books on pop culture history including Who Wrote the Book of Love, the best-selling “The 100 Best Movies You’ve Never Seen”, its sequel “The Son of the 100 Best Movies You’ve Never Seen”, the best selling “Raising Hell: Ken Russell and the Unmasking of The Devils” and “Elvis is King: Costello’s My Aim is True”. He also writes about pop culture and cars for The Toronto Star.

CCE Awards Raffle Tickets

Congratulations to our Raffle Winners

Our annual raffle features the fabulous prizes listed below.

The draw will take place during the Awards ceremony.

2 x 1 Year Adobe Creative Cloud Subscription
2 x 1 year Avid Media Composer subscription
Black Magic Design Logo Sponsor
1 Blackmagic Design Editor Keyboard

2 x 1 Davinci Resolve Speed Editor
Boris FX Logo Sponsor
3 x 1 year subscription to
Boris FX Suite

With thanks to our Sponsors

Platinum

Gold

Boris FX Logo Sponsor
DGC National sponsor logo
IATSE 2018 Sponsor Event logo
Insight TV Logo Sponsor
Rolling Picture Company Logo Sponsor
Take5 Productions 2018 Events Sponsors Logo
Vanguarde sponsor logo

Silver

Meridian Artists sponsor logo

Bronze

Thank you to our committees & volunteers:

Awards Committee:

Majda Drinnan

Lesley Mackay Hunter, CCE

Peter Hordylan

Jennifer Kidson

Jane MacRae

Meagan McGraw

Thank you to our CCE staff:

CCE Operations Manager:

Alison Dowler

CCE Communications Coordinator:

Samantha Ling

Categories
The Editors Cut

Episode 104 – EditCon 2024: To Kill A Tiger with Mike Munn, CCE

Episode 104 - EditCon 2024: To Kill A Tiger with Mike Munn, CCE

Series Sponsor:
DGC Alberta_2024_SPON

Today's episode is a panel that took place in Toronto during EditCon 2024. Editor Mike Munn, CCE take us through the experience of editing the multi-award-winning documentary TO KILL A TIGER.

The film follows the local story of an Indian father courageously fighting for justice for his raped daughter, delving into the dynamics of a family, a small village, and the national legal system, while also addressing the broader themes of rape culture, victim blaming, and the silencing of women. Moderated by editor Nick Hector, CCE.

Listen Here

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Subscribe Wherever You Get Your Podcasts

What do you want to hear on The Editors Cut?

Please send along any topics you would like us to cover or editors you would love to hear from:

Credits

A special thanks goes to

Alison Dowler

Hosted and Produced by

Sarah Taylor

Main Title Sound Design by

Jane Tattersall

ADR Recording by

Andrea Rusch

Mixed and Mastered by

Tony Bao

Original Music by

Chad Blain

Sponsor Narration by

Paul Winestock

Sponsored by

DGC Alberta

Categories
Articles Press Release

Canadian Cinema Editors and the Comité des treize launch The Editor’s Taskbook: Responsibilities and Best Practices

Canadian Cinema Editors and the Comité des treize launch The Editor’s Taskbook: Responsibilities and Best Practices

The Canadian Cinema Editors (CCE) and the Comité des treize are proud to announce the release of The Editor’s Taskbook: Responsibilities and Best Practices, a comprehensive guide designed to empower film and television editors, assistant editors, producers, and their teams. This groundbreaking document has been over four years in the making, and serves as both a reference and a tool for fostering collaborative, efficient, and creative editorial environments.

From pre-production to final delivery, The Editor’s Taskbook outlines every stage of the editing process in detail. It addresses critical topics such as staffing, contracts, workflows, and ergonomic best practices, ensuring that professionals across the industry can approach their projects with clarity, confidence, and creativity.

“We hope that this guide will help editors, assistant editors, producers, and their teams to create rich environments where creativity can flourish,” reads the Preamble. “It describes the key steps in the editorial team’s workflow, and can be used to determine the time needed for each stage in the editing process and identify the role of each team member. Use it. Adapt it. Share it.”

Visual researchers society logo

A Collaborative Effort for a Changing Industry

The Taskbook represents a unique collaboration between several organizations dedicated to supporting editors. The Canadian Cinema Editors, a national association advocating for professional development and recognition of editors, partnered with Montreal-based Comité des treize, known for their focus on supporting francophone editors. Together, they have crafted a guide that addresses the nuances of editorial work in Canada’s diverse production landscape. Additional content was generously provided by Monteurs en mouvement, and some sections have been adapted from existing guidelines (the American Cinema Editors’ Best Practices Guide for Post Production, and the Best Practices For Post-Production Archives by the Visual Research Society of Canada). The Taskbook has been endorsed by the Directors’ Guild of Canada, IATSE 891 (BC), AQTIS 514 IATSE (Quebec), and TEMPO, the international film editors’ organization with over 9000 members.

Screenshot 2025-02-07 at 2.34.41 PM

“This project is the result of extensive collaboration and consultation with editors across Canada,” said Lesley Mackay Hunter, President of CCE. “In addition to being a guidebook for editors, it is also an advocacy tool that helps educate producers on the crucial role editors and their assistants play in the filmmaking process.”

Editor Annie Jean of the Comité des treize added, “When we set about creating this guide, our motivation was quite simple: it was a desire to share, to ensure that all our colleagues could enjoy the best possible working conditions. By recognizing the complexity of our profession and the scope of our responsibilities, we wanted to provide everyone with the best possible arguments for negotiating their contracts, while respecting the integrity of our profession.”

Key Highlights of The Editor’s Taskbook

  • Getting Started: A thorough overview of foundational considerations, including guild membership, contract negotiations, and setting up an ideal workplace—whether on-site or remote.
  • Editorial Workflow: Detailed guidance for editors and assistant editors, covering preparation, assembly, cutting, and finishing. These sections emphasize teamwork and effective communication between roles.
  • Ergonomic Best Practices: Generously supplied by Montréal-based Monteurs en mouvement, a dedicated section on creating a healthy editing environment, featuring insights on workspace setup, equipment, and techniques to maintain physical well-being during long hours of work.
  • Management of Archival Material: In cooperation with the Quebec branch of the Visual Research Society of Canada, guidelines for archive handling, including research and tracking, for documentary and unscripted projects.

A Tool for the Industry’s Future

Designed as both a practical handbook and a resource for ongoing education, The Editor’s Taskbook offers invaluable tools to streamline workflows and help set realistic schedules. Its modular structure allows users to tailor the guide to suit the specific needs of their projects and teams.

“We envision this guide as a living document,” said the authoring committee. “As the industry evolves, so too can the Taskbook. We encourage editors and teams to adapt it to their unique circumstances and share their insights to keep our community strong.”

Availability

The Editor’s Taskbook: Responsibilities and Best Practices is available for download as of today on the website of the Canadian Cinema Editors.

About the Canadian Cinema Editors (CCE)
The Canadian Cinema Editors is a non-profit organization dedicated to promoting and celebrating the craft of editing in Canada. Through advocacy, mentorship, and events, the CCE supports a thriving community of editors and assistant editors.

About the Comité des treize
Based in Montreal, the Comité des treize is an organization of editors that works to champion the art and profession of editing within the francophone film and television industry. The group fosters collaboration and innovation among its members.

For media inquiries, interviews, or further information, please contact:
Alison Dowler
CCE Operations Manager
alison@cceditors.ca

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