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Nominations pour les prix CCE 2025

Nominations pour les prix CCE 2025

Les Monteurs et monteuses de cinéma canadien sont heureux⋅euses d’annoncer les nominations pour les prix CCE 2025. Rejoignez-nous le jeudi 29 mai 2025 pour une soirée de célébration de l’excellence en montage à l’hôtel Delta de Toronto avec Richard Crouse.

Les billets seront en vente à partir de ce vendredi! Félicitations à toutes les personnes en nomination!

Meilleur montage d’une série d’animation préscolaire
Commandité par: Les Monteurs et Monteuses de cinéma canadien

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

 

Meilleur montage d’un film d’animation
Commandité par : 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

 

Meilleur montage d’une compétition ou d’une téléréalité
Commandité par : 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

 

Meilleur montage d’un long métrage documentaire
Commandité par : 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


Meilleur montage d’un court métrage documentaire
Commandité par : 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


Meilleur montage d’une série documentaire ou d’un docudrame
Commandité par : Les Monteurs et Monteuses de cinéma canadien

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

Meilleur montage d’une émission style de vie
Commandité par : Les Monteurs et Monteuses de cinéma canadien 

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


Meilleur montage d’une télésérie ou d’un téléfilm jeunesse
Commandité par : 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

Meilleur montage d’un long métrage
Commandité par : 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

Meilleur montage d’un téléfilm
Commandité par: 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

Meilleur montage d’un court métrage
Commandité par : 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

Meilleur montage d’une série humoristique
Commandité par : 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


Meilleur montage d’une série dramatique ou d’une minisérie
Commandité par : 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


Meilleur montage d’une websérie ou d’un contenu numérique
Sponsored by : Les Monteurs et Monteuses de cinéma canadien

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?

Prix d’excellence soulignant l’œuvre d’une vie 
Commandité par : Les Monteurs et Monteuses de cinéma canadien
Jeff Warren, CCE and Yves Langlois, CCE (1941-2024)


Prix pour une carrière exceptionnelle 
Commandité par : Les Monteurs et Monteuses de cinéma canadien
Gregor Hutchison (1958–2020)


Prix du mérite étudiant 
Commandité par : Take 5 Productions
À venir début mai 


Prix d’excellence pour un·e assistant·e-monteur·euse 
Commandité par : Insight Productions
À venir début avril

Merci à nos commanditaires

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Le CCE et le Comité des treize sont fiers de présenter le Guide des bonnes pratiques en montage : Étapes et responsabilités.

Le CCE et le Comité des treize sont fiers de présenter le Guide des bonnes pratiques en montage : Étapes et responsabilités.

Les monteurs et monteuses de cinéma canadien (CCE) et le Comité des treize sont fiers de présenter le Guide des bonnes pratiques en montage : Étapes et responsabilités, un ouvrage de référence conçu pour aider les monteur·euses de cinéma et de télévision, les assistant·es-monteur·euses, les producteur·trices et leurs équipes. Ce document novateur s’est élaboré sur une période de quatre ans et sert à la fois de référence et d’outil pour créer des environnements collaboratifs, efficients et créatifs pour le montage.

Depuis la préproduction jusqu’à la livraison finale, ce guide détaille chaque étape du processus de montage. Il aborde des sujets de grande importance comme l’embauche de personnel, les contrats, les flux de travail ainsi que les meilleures pratiques en ergonomie, de façon à s’assurer que les professionnel·les de l’industrie puissent aborder leurs projets en toute transparence, confiance et créativité.

« Nous espérons que ce guide pourra aider les monteur·euses, leurs assistant·es, les producteur·trices et les équipes de tournage à créer des environnements riches dans lesquels la créativité pourra s’épanouir», peut-on lire dans le préambule. «Il peut servir pour évaluer le temps nécessaire aux diverses étapes du montage, tout comme déterminer le rôle de chacun des intervenants. Utilisez-le. Adaptez-le. Partagez-le. »

Monteurs en mouvement logo

Un effort de collaboration pour une industrie en changement

Le Guide est l’incarnation d’une collaboration unique entre diverses organisations vouées au soutien des monteur·euses. Les monteurs et monteuses de cinéma canadien (CCE), une association nationale qui prône le développement professionnel et la reconnaissance des monteur·euses, a fait équipe avec le Comité des treize, un organisme basé à Montréal, connu pour son soutien envers les monteur·euses francophones. Ensemble, ils ont conçu un guide qui aborde toutes les nuances du travail du montage dans le paysage diversifié de la production au Canada. Du contenu additionnel a généreusement été fourni par Les Monteurs en mouvement et certaines sections ont été adaptées de guides existants de l’ACE (Best Practices Guide for Post Production) et de l’Association des recherchistes en audiovisuel du Canada (Best Practices For Post-Production Archives). Ce Guide a obtenu l’appui de la Guilde canadienne des réalisateurs, de l’IATSE 891 (C.-B.), de l’AQTIS 514 IATSE (Québec) et de TEMPO, l’association internationale des monteur·euses de cinéma, comptant plus de 9000 membres.

Screenshot 2025-02-07 at 2.34.41?PM

« Ce projet est le résultat de vastes collaborations et consultations avec des monteur·euses de partout au Canada », a déclaré Lesley Mackay Hunter, présidente du CCE. « En plus d’être un guide pour les monteur·euses, il constitue un outil concret servant à éduquer les producteur·trices sur le rôle crucial des monteur·euses et de leurs assistant·es dans le processus d’élaboration d’un film. »

La monteuse Annie Jean, du Comité des treize, a ajouté : « Lorsque nous nous sommes attelés à la création de ce guide, la motivation était toute simple : c’était celle d’un partage, d’un désir que tous nos collègues puissent avoir les meilleures conditions de travail possible. En prenant acte de la complexité de notre métier et de l’étendue de nos responsabilités, il s’agissait de permettre à tous d’avoir en main les meilleurs arguments possibles afin de mieux négocier leurs contrats dans le respect de l’intégrité de notre métier. »

Passages clés du Guide des bonnes pratiques en montage

  • Pour démarrer : un examen approfondi des considérations de base, dont l’adhésion à une guilde, la négociation de contrats et l’élaboration d'un lieu de travail idéal, tant en présentiel qu’à distance.
  • Flux de travail en montage : conseils détaillés pour les monteur·euses et assistant·es-monteur·euses concernant la préparation, l’assemblage, le montage et la finition. Ces sections mettent l’emphase sur le travail d’équipe et la communication efficace entre les différents rôles.
  • Meilleures pratiques en ergonomie : Généreusement fournie par les Monteurs en mouvement, de Montréal, cette section est vouée à créer un environnement de travail sain pour les monteur·euses, offrant des conseils sur la disposition du lieu de travail, sur l’équipement ainsi que des techniques qui contribuent à maintenir un bien-être physique lors des longues heures de travail.
  • Gestion du matériel d’archive : en coopération avec la branche québécoise de l’Association des recherchistes en audiovisuel du Canada, ces lignes directrices abordent la manipulation des archives, incluant la recherche et le suivi, pour les projets documentaires et non scriptés.

Un outil pour l’avenir de l’industrie

Conçu à la fois comme un manuel pratique et une ressource en formation continue, ce guide offre des outils inestimables pour peaufiner les flux de travail et pour établir des échéanciers réalistes. Sa structure modulaire permet aux utilisateur·ices de l’adapter aux besoins spécifiques de leurs projets et de leurs équipes.

« Notre vision pour ce guide est celle d’un document vivant », assure le comité qui en est l’auteur. «L’industrie est en plein changement et ce guide peut en suivre l’évolution. Nous encourageons les monteur·euses et leurs équipes à l’adapter au caractère unique de leur contexte et à partager leurs expériences avec le reste de la communauté afin de nous rendre plus forts. »

Availability

Le Guide des bonnes pratiques en montage : Étapes et responsabilités est téléchargeable dès maintenant sur le site internet du CCE

À propos des Monteurs et Monteuses de cinéma canadien (CCE)
Le CCE est un organisme à but non lucratif voué à la promotion et à la reconnaissance de l’art du montage au Canada. Grâce à son activisme, son mentorat et ses événements, le CCE soutient une vibrante communauté de monteur·euses et d’assistant·es-monteur·euses.

About the Comité des treize
Basé à Montréal, le Comité des treize est une association de monteur·euses qui travaille à défendre l’art et la profession du montage au sein de l’industrie francophone du cinéma et de la télévision. Le groupe favorise la collaboration et l’innovation chez ses membres.

Pour toute demande d’information ou d’entrevue, veuillez contacter :
Alison Dowler
Responsable des opérations au CCE
alison@cceditors.ca

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Articles Communiqué de presse

Les Monteurs et Monteuses de cinéma canadien présentent leur 8e conférence annuelle, l’EditCon 2025

Les Monteurs et Monteuses de cinéma canadien présentent leur 8e conférence annuelle, l’EditCon 2025

Les Monteurs et monteuses de cinéma canadien (CCE) sont heureux et heureuses de présenter l' EDITCON 2025, la huitième conférence annuelle sur l’art du montage qui se tiendra du February 7th to 9th, 2025. La conférence comportera des événements virtuels de même qu’en présentiel à Toronto, Montréal, Vancouver, Edmonton et Halifax. Nous sommes aussi enthousiastes à l’idée de présenter un autre épisode de notre balado exclusif à l’EditCon! Il y aura un lancement spécial le 1er janvier et il sera accessible à tous et toutes!

Le Canada peut se targuer d’avoir une vaste gamme de talents en postproduction. Que ce soit en montage, en étalonnage, en design sonore ou en effets spéciaux, nous figurons au premier plan du cinéma international. Les professionnel·les de la postproduction canadienne établissent des standards d’excellence en termes de qualité, de créativité et d’innovation et cette année nous sommes là pour montrer à quel point nos contributions ont un impact à travers le monde.

C’est en postproduction que les histoires sont réellement créées, quand les images brutes se combinent pour livrer une expérience à couper le souffle. Alors accrochez-vous bien, parce que l’EditCon 2025 célèbre certains des plus grands talents de l’industrie (du Canada et d'ailleurs) et le travail incroyable auquel ils ont contribué. Avec des tables rondes en ligne et en personne, le travail des monteur·euses et des assistant·es-monteur·euses sera scruté sous tous ses angles, du film d’action au documentaire en passant par l’animation. Préparez-vous à réseauter, à apprendre et à être inspiré·es par le pouvoir de la postproduction.

En plus de tables rondes passionnantes et d’un balado, il y aura une série d’échanges en salles de discussion virtuelles de même qu’une riche programmation d’événements en personne. Nous aurons aussi des supers produits à faire tirer!

Parmi les invité·e·s, nous recevrons :

  • Mary Blee – LE ROBOT SAUVAGE
  • Sara Bulloch – ABERDEEN
  • Blair Drover – PUSH
  • Xi Feng – UNE LANGUE UNIVERSELLE
  • Susan Fitzer – ELLIAN ET LE SORTILÈGE
  • Sarah Hedar – THE STAND 
  • Maurissa Horwitz – SENS DESSUS DESSOUS 2
  • Émilie Lemieux – LE PLONGEUR
  • Jeannick Martins-Desjardins – UNE LANGUE UNIVERSELLE
  • Nathalie Massaroni – ABERDEEN
  • Véronique Mélançon – GHOSTS : FANTÔMES À LA MAISON
  • Will Mitchell – HOME SWEET ROME
  • Ajla Odobasic – MATT AND MARA           
  • Maria Psaila – MOONSHINE
  • Shane Reid – DEADPOOL & WOLVERINE
  • Tara Robinson – BEACON 23
  • Randy Trager – NIMONA
  • Eric Whipp – FURIOSA : UNE SAGA MAD MAX
  • Nicholas Wong, CCE – HALO
  • Dean Zimmerman, ACE – DEADPOOL & WOLVERINE

Les billets seront en vente à partir du 16 décembre 2024.     

À propos des Monteurs et Monteuses de cinéma canadien (CCE)

Le CCE est un organisme sans but lucratif bilingue animé par la passion de ses membres de la communauté de la postproduction de partout au Canada. Le CCE est voué à combler les besoins de ses membres toujours plus nombreux·ses en créant un environnement d’apprentissage, de communauté et d’inclusivité. Le CCE a aussi été créé pour donner une vitrine à nos talents de classe mondiale, qui sont à l’avant-plan de l’industrie cinématographique canadienne et internationale. Suivez-nous sur X (Twitter), Facebook, LinkedIn et Instagram. www.cceditors.ca 

Contact médias :

Alison Dowler : Responsable des opérations

Les Monteurs et Monteuses de cinéma canadien – alison@cceditors.ca

1- 2025 Editcon Sponsor Banner
Avec la participation du gouvernement du Canada.
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The Editors Cut

Episode 099 – EditCon 2024: What Are You Afraid Of?

Episode 099 - EditCon 2024: What Are You Afraid Of?

Series Sponsor:
DGC Alberta_2024_SPON
Episode Sponsor:
IATSE_2024_Spon

Today’s episode took place in Vancouver as part of EditCon 2024.

What makes movies scary? Why are we compelled to watch them? How do editors influence and manipulate our experience of horror, suspense, and tension? Does editing scary films give you nightmares?

This round table discussion with Jon Anctil, CCE (50 STATES OF FRIGHT, VAN HELSING, TWO SENTENCE HORROR STORIES) Cindy Au Yeung (JONAH, SHADOW OF THE ROUGAROU) Graham Kew (SATAN WANTS YOU, THE AGE OF A.I., PUNK), Justin Li (THE TERROR, SNOWPIERCER, LUCKY HANK) Trevor Mirosh (DAY OF THE DEAD, V FOR VENGEANCE, TRUE JUSTICE) and Nicole Ratcliffe, CCE (CREEPSHOW, TWO SENTENCE HORROR STORIES, VIRGIN RIVER) will answer these questions and more!

Moderated by Greg Ng, CCE

À écouter ici !

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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Articles

2024 Gémaux Award Nominees

Félicitations à nos membres CCE qui ont été nommés aux prix Gémeaux.

Félicitations à nos membres CCE qui ont été nommés aux prix Gémeaux.

MEILLEUR MONTAGE : FICTION

  • Isabelle Malenfant, CCE – SORCIÈRES « Épisode 8 »

MEILLEUR MONTAGE : TOUTES CATÉGORIES HORS FICTION

  • Guillaume Marin – DRAGS, LES REINES DE LA POP
  • Charles Boisseau (+6 monteurs) – LA SOIRÉE MAMMOUTH 2023
  • Guillaume Marin (+1 monteur) – ON RAMASSERA DEMAIN « Épisode 4 »

MEILLEUR MONTAGE : ÉMISSION DOCUMENTAIRE OU AFFAIRES PUBLIQUES

  • Guillaume Marin, (+1 monteur) – DANS UN CINÉMA PRÈS DE CHEZ VOUS
  • Sophie Leblond (+1 monteur) – DESCHAMPS RACONTE YVON
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Articles

Finalistes pour les prix Leo 2024

Finalistes pour les prix Leo 2024

2021-07_12_LEO_AWARD_BANNER

Félicitations à nos membres CCE qui ont été nommés pour les prix Leo.

BEST PICTURE EDITING: MUSIC, COMEDY OR VARIETY PROGRAM OR SERIES
  • Lisa Robison, CCE – Animal Control – Birds and Foxes
  • Lisa Binkley, CCE – Reginald the Vampire – We can be Heroes (Just for one day)
BEST PICTURE EDITING: DRAMATIC SERIES
  • Greg Ng, CCE, Roderick Deogrades, CCE & Maxime Lahaie – Bones of Crows – To Be Separated
  • Lisa Robison, CCE – Firefly Lane – Can’t Fight This Feeling
  • Allan Lee, CCE – Wild Cards – Show Me the Murder
BEST PICTURE EDITING: MOTION PICTURE
  • Sarah Trudelle – Wild Goat Surf
BEST PICTURE EDITING: TELEVISION MOVIE
  • James Ilecic, CCE – 3 Bed, 2 Bath, 1 Ghost
  • Jason Irvine – Aurora Teagarden Mysteries: Something New
  • Gordon Rempel, CCE – Holiday Road
  • Gordon Rempel, CCE – Monster High 2
BEST PICTURE EDITING: SHORT DRAMA
  • Ashley Lynch – Obscura
BEST PICTURE EDITING: FEATURE LENGTH DOCUMENTARY
  • Greg Ng, CCE (+1 editor) – I’m Just Here For The Riot
  • Jessica Dymond – WaaPaKe (Tomorrow)
BEST PICTURE EDITING: SHORT DOCUMENTARY
  • Erin Parks (+1 editor) – Doppelgangers: Face to Face
BEST PICTURE EDITING: DOCUMENTARY SERIES
  • Jenypher Fisher, CCE – Our War – Watts & Drost
  • Jenypher Fisher, CCE (+1 editor) – Our War – McLean & Hereford
  • Jenypher Fisher, CCE (+1 editor) – Our War – Enjo & Vogel
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Articles

Le CCE émet une déclaration de solidarité avec la WGC

Le CCE émet une déclaration de solidarité avec la WGC

WGC 2024 Banner

Le CCE tient à exprimer son soutien envers la Writers Guild of Canada, dont les membres ont voté en faveur du déclenchement d’une grève dans le cadre de leurs négociations avec la CMPA.

Extrait du communiqué de la WGC diffusé le 25 avril

« La WGC se bat pour obtenir une entente qui protègera les moyens de subsistance de ses membres et assurera un avenir aux scénaristes du Canada. À ce jour, les parties n’ont pas été en mesure de trouver des moyens de protection significatifs contre l’IA pour les scénaristes de fiction ou d’animation, des compensations raisonnables pour les scénaristes de films d’animation ni un seuil minimum acceptable de participation des auteur·rices lors de la production de séries télévisées. »

Nous sommes solidaires des membres de la WGC.

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The Editors Cut

Episode 093 –  EditCon 2023: Down at Fraggle Rock

Episode 93: EditCon 2023: Down at Fraggle Rock

Episode 093 - EditCon 2023: Down at Fraggle Rock

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An international hit in the 80s and beloved for many viewers to this day, FRAGGLE ROCK comes back more colorful, high-energy and furrier than before.

In this episode Paul Winestock, CCE, Duncan Christie, CCE and Marianna Khoury with Paul Ackerley discuss their experiences and work process in the edit suite on this reboot for both the young and young at heart.

À écouter ici !

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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Veuillez nous envoyer un courriel en mentionnant les sujets que vous aimeriez que nous abordions, ou les monteurs.euses dont vous aimeriez entendre parler, à :

Crédits

Un grand Merci à

Alison Dowler

Kimberlee McTaggart, CCE

Hosted and Produced by

Sarah Taylor

Design sonore du générique d'ouverture

Jane Tattersall

ADR Recording by

Andrea Rusch

Mixé et masterisé par

Tony Bao

Musique originale par

Chad Blain

Sponsor Narration by

Paul Winestock

Commandité par

DGC Alberta

Rolling Pictures

Catégories
Communiqué de presse

Nominations pour les prix CCE 2024

Nominations pour les prix CCE 2024

Les Monteurs et monteuses de cinéma canadien sont heureux⋅euses d’annoncer les nominations pour les prix CCE 2024. Rejoignez-nous le vendredi 14 juin 2024 pour une soirée de célébration de l’excellence en montage à l’hôtel Delta de Toronto avec Elvira Kurt.

Les billets seront en vente à partir de ce vendredi! Félicitations à toutes les personnes en nomination!

Meilleur montage d’une série d’animation préscolaire
Commandité par : Les Monteurs et Monteuses de cinéma canadien

Gavin Ebedes & Ryan Mohammed – RUBBLE & CREW: Ep 120 – THE CREW & CHASE ARE ON THE CASE
Paul Hunter, CCE & Katie Tomchishen – NATURE CAT: Ep 508 – A LITTLE KELP FROM MY FRIENDS & MISSION TO MARS
Paul Hunter, CCE, Katie Tomchishen & Jason Pichonsky – SUPERBUNS: Ep 116 – C’MON CATERPILLAR
Rachel Guergis, Bec Cranswick, Sophia Loffreda & Dean Hannas – SPIDEY AND HIS AMAZING FRIENDS: Ep 224 – STOLEN WEB-QUARTERS/SPIDEYS IN SPACE!

Meilleur montage d’un film d’animation
Commandité par : Annex Pro

Greg Canning, Max Szentveri, Nicholas Shepard, Ryan Jobling & Leland Miller – THE SNOOPY SHOW: CHARLIE BROWN HITS A HOME RUN
Orion McCaw, Margaret Reid, Rob Smith, Matthew Innanen & Maddison Varas – SONIC PRIME: Ep 201 – AVOID THE VOID
Orion McCaw, Rob Smith & Matthew Innanen – STRAWBERRY SHORTCAKE’S PERFECT HOLIDAY
Ryan L. Smith – LAKE ERIE
Yvann Thibaudeau, CCE – MIRACULOUS LADYBUG

Meilleur montage d’un long métrage documentaire
Commandité par : Purple Dog Post Production Services

Annie Leclair – GREYLAND
Eugene Weis – REVIVAL69: THE CONCERT THAT ROCKED THE WORLD
Greg Ng, CCE & Katie Chipperfield – I’M JUST HERE FOR THE RIOT
Ricardo Acosta, CCE & Mike Magidson – CHILDRENS OF LAS BRISAS
Xi Feng & Maxime Faure – CAITI BLUES

Meilleur montage d’un court métrage documentaire
Commandité par: City of Toronto

Colin Waugh – ARTHUR ERICKSON’S DYDE HOUSE
Duncan Buchanan – THE LONG ROAD HOME
Jane MacRae – LOUD AND HERE
Kyle Gregory Sanderson – NINE EASY DANCES
Marie-Pier Dupuis – APRÈS-COUPS

Meilleur montage d’une série documentaire, d’un docudrame ou d’un divertissement factuel
Commandité par : Rolling Pictures

Andres Landau – THE NATURE OF THINGS: Ep 6210 – WAR FOR THE WOODS
Eamonn O?Connor, CCE – BLACK LIFE: UNTOLD STORIES: Ep 102 – REVOLUTION REMIX
Hart Snider – GRIZZLY REWILD: Ep 6208
Steven Budd – DARK SIDE OF COMEDY: Ep 201 – ROBIN WILLIAMS
Swapna Mella, CCE – STUFF THE BRITISH STOLE: Ep 101 – THE JEWEL OF DENIAL

Meilleur montage d’une télésérie ou d’un téléfilm familial
Commandité par : IATSE 891

Courtney Goldman & Nathan Martinak – JANE: Ep 101 – URSUS MARITIMUS
Fabiola Caraza – THE POPULARITY PAPERS: Ep 108 – GHOST MORTEM
Gordon Rempel, CCE – MONSTER HIGH 2
Thomas Lieu – THE HARDY BOYS: Ep 302 – A VANISHING ACT
Vesna Svilanovic, CCE – RUBY AND THE WELL: Ep 302 – I WISH I COULD STOP THIS MONSTER

Meilleur montage d’un long métrage
Commandité par : Coma Edits

Jorge Weisz, CCE – SWEETLAND
Justin Oakey – THE KING TIDE
Marie-Pier Dupuis, Dominique Fortin & Maxim Rheault – SOLO
Orlee Buium – NORTH OF NORMAL
Yvann Thibaudeau CCE – DIS MOI POURQUOI CES CHOSES SONT SI BELLES

Meilleur montage d’un téléfilm ou d’une minisérie
Commandité par : DGC National

Christopher Donaldson, CCE – FELLOW TRAVELERS: Ep101 – YOU’RE WONDERFUL
Louis-Philippe Rathé – DÉSOBÉIR – LE CHOIX DE CHANTALE DAIGLE: Ep 106 – LA SEULE PERSONNE À POUVOIR CHOISIR, C’EST MOI
Maxime Lahaie – LITTLE BIRD: Ep 104 – BURNING DOWN THE HOUSE
Myriam Coulombe – DÉSOBÉIR – LE CHOIX DE CHANTALE DAIGLE: Ep 104 TU SAIS BEN QUE ÇA SERA JAMAIS FINI
Myriam Coulombe – MÉGANTIC: Ep 104 BRYAN

Meilleur montage d’une émission style de vie / compétition / téléréalité
Commandité par : RTR Media

Guillaume Marin – DRAGS, REINES DE LA POP
Jeff Perry, Ryan Monteith, Curtis Rogers & Keisha Rose – BEST IN MINIATURE: Ep 208 – THE FINALE
Jonathan Dowler, CCE – CANADA’S DRAG RACE: Ep 405 – SNATCH GAME
Lindsay Ragone – CANADA’S DRAG RACE: Ep 407 – FROM DRAGS TO RICHES: THE RUSICAL
Samantha Shields – HOME TOWN: Ep 703 – NEW-STALGIC RESTORATION

Meilleur montage d’un court métrage
Commandité par : Meridian Artists

Amélie Labrèche – CHAT MORT
Anna Catley -THRIVING: A DISSOCIATED REVERIE
Christopher Malanchen – BORDERS
Graham Fortin – DEFINING HUMAN
Myriam Magassouba – FAIRE UN ENFANT

Meilleur montage d’une série humoristique
Commandité par : Vanguarde Management Artists

Charles Boisseau & David Bourbonnais – CLUB SOLY: Ep 301 – ART CONTEMPORAIN, CHAR ÉLECTRIQUE ET PUBS DE CHIPS
Drew MacLeod – LETTERKENNY: Ep 1206 – OVER AND OUT
Drew MacLeod – SHORESY: Ep 206 – ACCOUNTABILITY
Justin Li – LUCKY HANK: Ep 105 – THE CLOCK
Maureen Grant, CCE – SORT OF: Ep 306 – SORT OF HOSPITAL AGAI

Meilleur montage d’une série dramatique
Commandité par : Take 5 Productions

David Di Francesco – VIRAGE: DOUBLE FAUTE: Ep 102 – PRÊT À TOUT
Jonathan Eagan – THE CHANGELING: Ep 107 – STORMY WEATHER
Geoff Ashenhurst, CCE & Hye Mee Na – THE CHANGELING: Ep 101 – FIRST COMES LOVE
Greg Ng, CCE, Roderick Deogrades, CCE & Maxime Lahaie – BONES OF CROWS: THE SERIES: Ep 102 – TO BE SEPERATED
Lisa Robison, CCE – FIREFLY LANE: Ep 213 – CAN?T FIGHT THAT FEELING

Meilleur montage d’une websérie ou d’un contenu numérique
Commandité par : Les Monteurs et Monteuses de cinéma canadien

Ben Allan – LESS THAN KOSHER: Ep 101 – THE SYNAGOGUE VIV HASN’T BEEN TO IN 15 YEARS
David Valiquette – VIVRE AVEC LA POLLUTION DE LA FONDERIE HORNE
Jake Lee – STREAMS FLOW FROM A RIVER: Ep 4 – BENNY AND THE JETS
Jean-Philippe Gagnon – NICO SE PRIVE DE SOMMEIL PENDANT 7 NUITS
Milena Salazar – GOVERNOR GENERAL’S AWARDS IN VISUAL AND MEDIA ARTS: PORTRAIT OF SHANNON WALSH

Prix d’excellence soulignant l’œuvre d’une vie Mary Stephen, CCE & Gordon McClellan, CCE
Commandité par : Les Monteurs et Monteuses de cinéma canadien

Prix pour une carrière exceptionnelle : Don Thompson
Commandité par : Les Monteurs et Monteuses de cinéma canadien

Prix du mérite étudiant
Commandité par : Insight Productions
À venir début mai

Prix d’excellence pour un·e assistant·e-monteur·euse
Commandité par : Matrx
À venir début mai

Cocktail
Commandité par : DGC Ontario

Merci à nos commanditaires

Catégories
Communiqué de presse

The Canadian Cinema Editors announces the recipients of the 2024 Lifetime Achievement Award and Career Achievement Award 

Prix d’excellence soulignant l’œuvre d’une vie et Prix pour une carrière exceptionnelle - Communiqué de presse 2024

Toronto, 8 avril 2024 Les Monteurs et Monteuses de cinéma canadien (CCE) sont heureux·euses d’annoncer que Mary Stephen, CCE, et Gordon McClellan, CCE, sont les lauréats du Prix d’excellence soulignant l’œuvre d’une vie 2024. Don Thompson reçoit pour sa part le Prix pour une carrière exceptionnelle 2024. Le CCE décernera ces prix à la 14e cérémonie de remise des prix CCE qui se tiendra le 14 juin 2024 à l’hôtel Delta de Toronto.

La liste complète des nominations aux prix CCE sera dévoilée le 15 avril! Rendez-vous sur notre site internet pour plus d’informations.

Prix d’excellence soulignant l’œuvre d’une vie

Mary Stephen, CCE

Mary Stephen, CCE

Mary est née à Hong Kong et sa famille a immigré à Montréal dans les années 1970, où elle a par la suite étudié à l’Université Concordia. Mary vit à Paris depuis les années 1980, mais elle se déplace beaucoup entre sa maison en France et ses engagements pour le travail au Canada, en Asie, en Australie et en Afrique.

Pendant plus de 30 ans, Mary a été la monteuse principale d’Éric Rohmer, réalisateur français de la Nouvelle Vague, après avoir été l’assistante de sa monteuse principale précédente, Cécile Décugis. Quand Cécile a pris sa retraite, Mary a monté de nombreux films de Rohmer, depuis CONTE D’HIVER jusqu’à son dernier, LES AMOURS D’ASTRÉE ET DE CÉLADON, travaillant aussi sur plusieurs courts métrages et, à l’occasion, sur la musique de ses films.

Au cours des deux dernières décennies, en plus du montage, Mary a aussi agi en tant que productrice associée et consultante auprès de cinéastes de fictions et de documentaires de partout au monde. Elle a notamment travaillé avec Tiffany Hsiung, Michka Säal et Lixin Fan au Canada, Seren Yüce et Hüseyin Karabey en Turquie, Nicole Shafer en Afrique du Sud, Du Haibin, Lina Yang en Chine continentale et Adam Wong, Jessie Tsang, Amos Wong et Ann Hui à Hong Kong. Mary a fait ses débuts en tant que réalisatrice avec les films VISION FROM THE EDGE : BREYTEN BREYTENBACK PAINTING THE LINES et THE MEMORY OF WATER. Elle travaille présentement à son prochain film, PALIMPSEST : TRACES OF A NAME, une coproduction entre 4 pays.

Mary est très engagée dans le mentorat et le soutien des jeunes cinéastes dans différents labs et forums. Elle participe souvent à des jurys de festivals et elle a été en nomination pour plusieurs prix pour meilleur montage. Elle est membre de l’Academy of Motion Picture Arts and Sciences et elle a été nommée Chevalier de l’Ordre des Arts et des Lettres par le ministère français de la Culture en 2018. L’an dernier, Mary a été la deuxième à remporter le prix Fire Horse au festival de films Reel Asian 2023.

Prix d’excellence soulignant l’œuvre d’une vie

Gordon Mcclellan, cce

Gordon McClellan, CCE

Gord McClellan, CCE, est un monteur de fiction et de documentaire depuis plus de 50 ans. Parmi les films qu’il a montés, plusieurs ont gagné des prix dont un Oscar, un Emmy, un Cable ACE (le prix Cable TV a plus tard été fusionné avec les Emmy), un Gemini et d’autres encore. Son travail a été vu sur ABC, A&E, BBC, CBC, CBS, CTV, Discovery, Disney, Disney XD, Global, Great American Family, Hallmark, HBO, Netflix, NBC, Nickelodeon, Paramount, Showcase, Showtime, Sony, Superchannel, TVO, W et Warner Brother.

Pendant deux décennies, Gord a monté des films et des vidéos, classant minutieusement et patiemment chaque photogramme des plans coupés, ou gérant les multiples générations d'images vidéo qui se dégradaient. Quand l’occasion s’est présentée, il a été heureux de pouvoir travailler avec les systèmes non-linéaires comme Lightworks et AVID au moment de leur arrivée en scène.

Parmi les hauts faits de sa carrière, on note les cinq premières saisons de THE FIFTH ESTATE, plusieurs collaborations avec le documentariste John Zaritsky, dont le film oscarisé JUST ANOTHER MISSING KID et le documentaire musical TEARS ARE NOT ENOUGH, mettant en vedette, entre autres, le producteur David Foster, Neil Young, Joni Mitchell, Bryan Adams, Geddy Lee et Gordon Lightfoot. Il a travaillé sur six saisons des CONTES D’AVONLEA, cinq longs métrages, deux miniséries et 31 téléfilms. Ces dernières années, son travail se concentre surtout sur des comédies romantiques, un genre qu’il affectionne beaucoup.

Prix pour une carrière exceptionnelle

Don Thompson

Don Thompson est un leader d’expérience dans l’industrie des médias et du divertissement, reconnu pour savoir mettre sa créativité et ses compétences techniques au service de la résolution de problèmes, du développement de talents, du réseautage et de la collaboration afin d’accélérer le développement.

Avec son influence entrepreneuriale, il a contribué à la fondation ou à la croissance et au changement de plusieurs compagnies à Vancouver, Toronto et LA, incluant Finale Post (aujourd’hui Picture Shop Vancouver), The Foundation Post (LA), Image Engine VFX (Vancouver), The Eyes Productions et Shooters Production Services (Vancouver et Toronto). Il a travaillé tant comme monteur que comme superviseur de postproduction, producteur/réalisateur et vidéaste. Il a contribué à une grande diversité de productions, incluant des longs métrages, des émissions de télévision, des publicités, de la diffusion de sport et de musique en direct et des documentaires d’avant-garde. 

Il s’implique activement dans la communauté du cinéma à Vancouver en tant que président de la Vancouver Post Alliance (VPA) et membre des conseils d’administration de la Motion Picture Production Industry Association of BC (MPPIA) et des prix Leo. Il se rend régulièrement à LA pour les relations avec l’industrie et pour des initiatives de marketing et de ventes avec les grands studios, les diffuseurs et les compagnies de production. Don travaille avec passion à ce que la communauté de la production et de la postproduction au Canada atteigne son plein potentiel et il compte bien poursuivre sa contribution au développement de ses talents, de ses équipes, des compagnies de production et des installations dans les années à venir.

À propos du Prix d’excellence soulignant l’œuvre d’une vie
Cet honneur est remis à un·e monteur·euse·s qui a su élever l’art du montage, qui a apporté une solide contribution à la communauté du montage et fait preuve d’une réelle passion pour son métier.

À propos du Prix CCE pour une carrière exceptionnelle
Cette reconnaissance est présentée à une personne membre de la communauté élargie du cinéma qui a été d’un grand soutien aux monteur.euse.s canadien.ne.s et à cette profession en général tout au long de sa carrière.

À propos des Monteurs et Monteuses de cinéma canadien (CCE)
Le CCE est un organisme sans but lucratif bilingue animé par la passion de ses membres de la communauté de la postproduction de partout au Canada. Le CCE est voué à combler les besoins de ses membres toujours plus nombreux·ses en créant un environnement d’apprentissage, de communauté et d’inclusivité. Le CCE a aussi été créé pour donner une vitrine à nos talents de classe mondiale, qui sont à l’avant-plan de l’industrie cinématographique canadienne et internationale. Suivez-nous sur X (Twitter), Facebook, LinkedIn et Instagram. www.cceditors.ca

Contact médias :
Alison Dowler : Responsable des opérations
Les Monteurs et Monteuses de cinéma canadien – info@cceditors.ca

Merci à nos commanditaires :

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