Catégories
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.

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.

Abonnez-vous là où vous écoutez vos balados

Que voulez-vous entendre sur L'art du montage?

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

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

Catégories
Articles Communiqué de presse

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

Catégories
Articles Communiqué de presse

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

Les Monteurs et Monteuses de cinéma canadien révèlent les lauréats du Prix d’excellence soulignant l’œuvre d’une vie et du Prix pour une carrière exceptionnelle - Communiqué de presse 2025

Toronto, 7 avril 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 Rendez-vous sur notre site internet pour plus d’informations.

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

Jeff Warren, CCE

Jeff Warren a travaillé comme monteur de cinéma pigiste au Canada depuis plus de 45 ans. Il a touché tant aux longs métrages qu’aux séries dramatiques et aux documentaires.

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).

En plus d’être monteur, Jeff a agi comme mentor au Canadian Film Centre et il a donné des conférences et des ateliers à l’Université York, à l’Université métropolitaine de Toronto (anciennement Ryerson) et au Confederation College. Il a remporté deux prix Hot Docs, trois prix Gemini, quatre prix GCR et un prix Genie, tous pour meilleur montage. Il a reçu bien d’autres nominations, dont une pour un prix Emmy aux É-U.

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

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.

Artiste doué et maître conteur, Langlois a collaboré avec certains des cinéastes les plus renommés du Canada et du monde entier, notamment Gilles Carle, Jean-Jacques Annaud , Claude Chabrol, Christian Duguay, Yves Simoneau et 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.”

Prix pour une carrière exceptionnelle

Gregor Hutchison (1958 - 2020)

Gregor Hutchison a toujours été passionné de cinéma, de science-fiction, de nouvelles technologies et de bande dessinée. Alors qu’il étudiait à l’Université Western Ontario, il a suivi des cours de cinéma et ce fut le coup de foudre. Il est ensuite passé à l’Université métropolitaine de Toronto (anciennement Ryerson) où il a obtenu un second baccalauréat, cette fois en production filmique.

Il a débuté sa carrière chez Nelvana, dans le département du montage, et à part quelques incursions du côté de l’analyse de scénarios, Gregor a consacré l’entièreté de sa prolifique carrière à la postproduction. Son très long CV inclut des centaines de projets, dont des longs métrages de fiction et d’animation, des émissions télé et des miniséries. Il a entre autres collaboré à RESIDENT EVIL, HATFIELDS AND MCCOYS, SILENT HILL et OPÉRATION NOISETTES. Gregor est décédé alors qu’il travaillait sur LOCKE & KEY, un projet dont il était extrêmement fier, comme tant d’autres auxquels il a contribué.

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.

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 Facebook, LinkedIn et Instagram.   www.cceditors.ca

Contact médias :
Alison Dowler : Responsable des opérations
Canadian Cinema Editors – alison@cceditors.ca

Merci à nos commanditaires :

Catégories
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!

Meilleur montage, drame 

  • 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

Meilleur montage, émission factuelle

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

Meilleur montage, documentaire 

  • 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

Meilleur montage, téléréalité ou concours

  • 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

Meilleure montage, humoristique

  • 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!

Meilleur montage

  • 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

Meilleur montage dans un long métrage documentaire

  • Marie-Pier Grignon – OKURIMONO

Meilleur montage, émission ou série Web 

  • Becky Swannick – EVERYBODY’S MEG – MEG WORKS OUT
  • Maureen Grant, CCE – MY DEAD MOM – SHANA TOVA
Catégories
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.

À écouter ici !

Abonnez-vous là où vous écoutez vos balados

Que voulez-vous entendre sur L'art du montage?

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

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

Catégories
Articles

Lauréate d'un prix Emmy 2024

Lauréate d'un prix Emmy 2024

2024 emmy winner

Félicitations à Lindsay Ragone, lauréate d'un prix Emmy (avec 3 autres monteur·euses) pour All Round Champion.

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

Catégories
Événements passés

Le Victory Social Club en partenariat avec les Monteurs et Monteuses de cinéma canadien

Le Victory Social Club en partenariat avec les Monteurs et Monteuses de cinéma canadien
13 mars 2025

Cet événement a eu lieu le 13 mars 2025.

Rejoignez-nous le jeudi 13 mars pour une rencontre informelle et une occasion de prendre contact avec la communauté locale de monteur·euses. Partagez vos histoires et vos défis et laissez-vous être inspiré·es par ces échanges. Si vous avez un extrait vidéo ou autre chose que vous aimeriez partager avec nous, veuillez écrire à alison@cceditors.ca 

Veuillez noter qu’en raison de la forte demande, nous ne pourrons présenter tous les extraits lors de cet événement. Si nous nous trouvons dans l’impossibilité de diffuser votre extrait, nous vous contacterons pour convenir d’un visionnement lors d’un événement ultérieur.

Des rafraîchissements et des boissons seront fournis, veuillez apporter votre propre alcool.

Victory Social: 1166a Dundas Street W

À propos de l'événement

March 2025

19 h HAE

Canada

Catégories
Articles

15e prix CCE

2025 Les prix CCE
Cérémonie
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.

Liste des finalistes

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

Commandité par: 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

Commandité par: Les Monteurs et Monteuses de cinéma canadien

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

Commandité par: 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

Commandité par: 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

Commandité par: Les Monteurs et Monteuses de cinéma canadien

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

Commandité par: Les Monteurs et Monteuses de cinéma canadien

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)

Commandité par: 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

Commandité par: Les Monteurs et Monteuses de cinéma canadien

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

Commanditée par: 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

Commandité par: Insight Productions

Récipiendaires des prix hommage

Jeff Warren a travaillé comme monteur de cinéma pigiste au Canada depuis plus de 45 ans. Il a touché tant aux longs métrages qu’aux séries dramatiques et aux documentaires.

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).

En plus d’être monteur, Jeff a agi comme mentor au Canadian Film Centre et il a donné des conférences et des ateliers à l’Université York, à l’Université métropolitaine de Toronto (anciennement Ryerson) et au Confederation College. Il a remporté deux prix Hot Docs, trois prix Gemini, quatre prix GCR et un prix Genie, tous pour meilleur montage. Il a reçu bien d’autres nominations, dont une pour un prix Emmy aux É-U.

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.

Artiste doué et maître conteur, Langlois a collaboré avec certains des cinéastes les plus renommés du Canada et du monde entier, notamment Gilles Carle, Jean-Jacques Annaud , Claude Chabrol, Christian Duguay, Yves Simoneau et 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 a toujours été passionné de cinéma, de science-fiction, de nouvelles technologies et de bande dessinée. Alors qu’il étudiait à l’Université Western Ontario, il a suivi des cours de cinéma et ce fut le coup de foudre. Il est ensuite passé à l’Université métropolitaine de Toronto (anciennement Ryerson) où il a obtenu un second baccalauréat, cette fois en production filmique.

Il a débuté sa carrière chez Nelvana, dans le département du montage, et à part quelques incursions du côté de l’analyse de scénarios, Gregor a consacré l’entièreté de sa prolifique carrière à la postproduction. Son très long CV inclut des centaines de projets, dont des longs métrages de fiction et d’animation, des émissions télé et des miniséries. Il a entre autres collaboré à RESIDENT EVIL, HATFIELDS AND MCCOYS, SILENT HILL et OPÉRATION NOISETTES. Gregor est décédé alors qu’il travaillait sur LOCKE & KEY, un projet dont il était extrêmement fier, comme tant d’autres auxquels il a contribué.

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.

Cérémonie

Join us on Thursday, May 29th, 2025 for an evening celebrating excellence in editing at the Delta Hotel in Toronto.
La réception commence à 18 h et le souper est servi à 19 h 30.

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

Il n’y aura pas de vente de billets à la porte puisque tous les repas doivent être commandés à l’avance.

——

La réception commence à 18 h et le souper est servi à 19 h 30.

——

Aux membres du CCE qui sont en nomination – we have a SPECIAL price for you, please email Alison Dowler (alison@cceditors.ca) pour plus de détails. 

Si vous n’êtes pas membres des Monteurs et Monteuses de cinéma canadien (CCE) mais que vous aimeriez le devenir (et profiter du tarif membre ou membre en nomination à l’achat d’un billet), CLIQUEZ ICI.

À noter : Si vous n’êtes pas membres des Monteurs et Monteuses de cinéma canadien (CCE) mais que vous êtes intéressé∙e·s à le devenir (et à profiter du tarif membre à l’achat d’un billet)  

Commanditairesveuillez écrire à Alison Dowler (alison@cceditors.ca) pour obtenir vos billets. 

Célébrer les assistant·es-monteur·euses


Vous trouverez ici les noms des assistant·es-monteur·euses qui ont contribué aux projets en nomination cette année :

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

Notre animateur Richard Crouse

Richard Crouse Host CCE AwardsRichard Crouse est le critique de cinéma régulier sur les chaînes d’information en continu CTV News Channel et CP24. Il est fréquemment invité à de nombreuses émissions de radio et de télévision au Canada. Son émission de radio entendue partout au pays le samedi après-midi, THE RICHARD CROUSE SHOW, est diffusée à partir de la chaîne News Talk 1010 à Toronto. Il est aussi l’auteur de dix ouvrages sur l’histoire de la culture populaire, notamment de "Who Wrote the Book of Love," du best-seller "The 100 Best Movies You've Never Seen," sa suite intitulée "The Son of the 100 Best Movies You've Never Seen," le succès de librairie "Raising Hell: Ken Russell and the Unmasking of The Devils" et de l’essai "Elvis is King: Costello's My Aim is True." Il écrit aussi sur la culture populaire et les automobiles pour le Toronto Star.

Billets de tirage des prix CCE

Félicitations aux gagnant.e.s du tirage

Notre tirage annuel vous donne la chance de remporter les prix énumérés ci-dessous.

Le tirage aura lieu pendant la cérémonie.

2 x 1 abonnement d'un an à la suite Adobe Creative Cloud
2 x 1 abonnement d'un an à Avid Media Composer
Black Magic Design Logo Sponsor
1 Blackmagic Design Editor Keyboard

2 x 1 claviers Davinci Resolve Speed Editor
Boris FX Logo Sponsor
1 x 1 abonnement d’un an à
Boris FX Suite

Merci à nos commanditaires

Platine

Or

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

Argent

Meridian Artists sponsor logo

Bronze

Remerciements à nos comités et bénévoles :

Comité des prix CCE :

Majda Drinnan

Lesley Mackay Hunter, CCE

Peter Hordylan

Jennifer Kidson

Jane MacRae

Meagan McGraw

Remerciements à notre équipe CCE :

Responsable des opérations du CCE :

Alison Dowler

Coordonnatrice des communications :

Samantha Ling

Catégories
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.

À écouter ici !

Lorem ipsum dolor sit amet, consectetur adipiscing elit. Ut elit tellus, luctus nec ullamcorper mattis, pulvinar dapibus leo.

Abonnez-vous là où vous écoutez vos balados

Que voulez-vous entendre sur L'art du montage?

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

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

Catégories
Articles Communiqué de presse

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.”

Monteurs en mouvement logo

Un effort de collaboration pour une industrie en changement

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.
  • 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.
  • 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.
  • 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.

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 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
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.

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

fr_CAFR

stay connected

Subscribe to our mailing list to
receive updates, news and offers

Aller au contenu