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14e prix CCE

2024 Les prix CCE
jours
heures
minutes
Cérémonie
Le CCE dévoilera la liste des nommé⋅es le 15 avril 2024.

La cérémonie de remise de prix se tiendra le 14 juin 2024 à l'hôtel Delta de Toronto.

Liste des finalistes

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Récipiendaires des prix hommage

Michel Arcand œuvre comme monteur depuis plus de quarante ans et il occupe une place unique au sein de la communauté des artisans et professionnels du cinéma d’ici qu’il a vu naître, grandir et s’affirmer.

Il a accompagné et accompagne encore le travail de nos plus grands cinéastes, les Léa Pool, Jean-Claude Lauzon, Pierre Falardeau, Robert Ménard, Charles Binamé, Chloé Robichaud, Sébastien Pilote pour ne nommer que ceux-là.

Michel Arcand fait partie de ce groupe de créateurs et d’artisans de haut niveau dont la réputation a traversé les frontières et son talent a été mis à contribution dans des productions internationales d’envergure. Des films comme TOMORROW NEVER DIES : JAMES BOND #18, SUNSHINE ou THE SIXTH DAY ont été vus par des centaines de milliers de spectateurs à travers le monde.

Généreux de son temps et de son incomparable expérience, il est membre fondateur du Comité des treize, un regroupement indépendant de monteurs qui se donnent pour mission de créer des liens entre monteurs de tous horizons pour faire connaître le métier et de lui redonner ses lettres de noblesse.

Pigiste depuis toujours, il est soucieux des conditions dans lesquelles lui-même et ses pairs exercent leur métier. Cette volonté d’appuyer autrement sa collectivité l’a mené à siéger au conseil d’administration de l’Académie canadienne du cinéma. Puis de 2006 à aujourd’hui, il siège à un conseil d’administration de l’Association québécoise des techniciens de l’image et du son (AQTIS section locale 514 de IATSE).

Homme de principes, il est attaché aux valeurs collectives et à l’équité entre toutes les fonctions essentielles à la réalisation d’une œuvre. Il milite en faveur d’une organisation forte et unifiante pour les représenter et assurer l’investissement nécessaire dans le perfectionnement professionnel et la formation de la relève.

2021 CCE Awards Jane Tattersall Career Achievement Recipient

C’est grâce à un orage que la carrière en son de Jane Tattersall est née. Diplômée de l’université Queen’s (en philosophie), son premier emploi en cinéma a été comme recherchiste/script-éditrice sur une série documentaire pour BBC/TVO. Quand le monteur a ajouté un grondement de tonnerre à des images un peu banales d’un beau paysage, ce fut — littéralement — le coup de foudre.

Si vous demandez à Jane ce qui a pu contribuer à son succès des 30 dernières années, elle en attribuera le mérite à la chance d’avoir été mentorée par les meilleur.e.s monteur.euse.s sonores et mixeur.euse.s du monde du cinéma. De grand.e.s réalisateur.trice.s comme Jaco van Dormael, Bill Forsyth, Deepa Mehta, David Cronenberg et Istvan Szabo ont contribué à son éducation.

Jane a bâti des relations avec des réalisateur.trice.s canadien.ne.s comme Clement Virgo, Sarah Polley, Richie Mehta et Mike McGowan. La passion de Jane pour le son et pour l’excellence a aidé cette nouvelle génération de réalisateur.trice.s à prendre d’assaut les Oscars et les festivals du monde entier, dont Cannes et Toronto.

Jane a été amenée à travailler bien au-delà de nos frontières, avec des passages à Berlin, Bruxelles, Budapest, Londres, Los Angeles, Skywalker et New York. Les collaborations, les nominations et les prix ont suivi, et Jane compte maintenant plus de 170 mentions au générique (cinéma et télévision) et plus de 100 nominations et prix. Parmi ses projets les plus récents en supervision sonore, on compte LA SERVANTE ÉCARLATE, THE NORTH WATER et 13 MINUTES.

Cérémonie

Rejoignez-nous le jeudi 25 mai 2023 pour une soirée de célébration de l’excellence en montage à l’hôtel Delta de Toronto.
La réception commence à 18 h et le souper est servi à 19 h 30.
FERMÉ

***LA VENTE DES BILLETS SE TERMINE LE 12 MAI 2023.******

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.

——

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), CLIQUEZ ICI.

À noter : la réduction sur le prix des billets n’est offerte qu’aux membres seulement. Les ami·e·s et les membres de la famille doivent se procurer des billets au tarif non-membre.

Les membres du CCE en nomination peuvent bénéficier d’un rabais pour un·e invité·e, veuillez écrire à Alison Dowler (adowler@cceditors) pour plus de détails.

Commanditaires, veuillez écrire à Alison Dowler (adowler@cceditors.ca) pour obtenir vos billets. 

Notre animatrice Elvira Kurt

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.

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Remerciements à nos comités et bénévoles :

Comité des prix CCE :

Lisa Binkley, CCE

Majda Drinnan

Lesley Mackay Hunter, CCE

Jennifer Kidson

Jane MacRae

Remerciements à notre équipe CCE :

Responsable des opérations du CCE :

Alison Dowler

Coordonnatrice des communications :

Samantha Ling

Merci à nos commanditaires

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The Editors Cut

Episode 087- A Small Light & Pachinko with Susan E. Kim

Episode 087: A Small Light & Pachinko with Susan E. Kim

Episode 087 - A Small Light & Pachinko with Susan E. Kim

Sarah Taylor, CCE sits down with Susan E Kim, editor behind A SMALL LIGHT and PACHINKO.

Susan has worked across a range of content, including unscripted work, commercials and music concerts. She has been an Assistant Editor on projects that include the Emmy-winning HBO series EUPHORIA and the Duplass Brothers HBO anthology series, ROOM 104.

Susan discusses the importance of collaboration in the editing process and how it?s important for editors to bring their unique perspective and voice to their projects.

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

Sarah Taylor [00:00:01]

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

Tenniel Brown [00:01:41]

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

Sarah Taylor [00:04:01]

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

Tenniel Brown [00:04:10]

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

Sarah Taylor [00:05:29]

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

Tenniel Brown [00:05:37]

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

Sarah Taylor [00:07:57]

You’ve got the hangries!

Tenniel Brown [00:07:59]

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

Sarah Taylor [00:08:19]

Totally. Especially in this industry.

Tenniel Brown [00:08:22]

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

Sarah Taylor [00:09:31]

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

Tenniel Brown [00:10:41]

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

Sarah Taylor [00:10:48]

100 percent.

Tenniel Brown [00:10:49]

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

Sarah Taylor [00:11:40]

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

Tenniel Brown [00:12:02]

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

Sarah Taylor [00:15:20]

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

Tenniel Brown [00:15:45]

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

Sarah Taylor [00:16:09]

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

Tenniel Brown [00:16:28]

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

Sarah Taylor [00:16:46]

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

Tenniel Brown [00:16:59]

You’re so welcome. Thanks for having me.

Sarah Taylor [00:17:03]

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

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

Outtro

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

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TEMPO AGM 2024: A Recap

TEMPO AGM 2024: A Recap

By Jane MacRae & Pauline Decroix

We are excited to share the highlights of our recent adventures at the TEMPO Annual General Meeting (AGM) and Film Editors? Symposium hosted in Copenhagen in mid-November 2023. We immersed ourselves in three days of industry discussions, networking, and inspiring meetings with editors from around the world.

The event was held at the National Film School of Denmark. In total, there were 54 attendees in person and online.


©Photo: Ludwik Sielicki


©Photo: Pauline Decroix

New Beginnings: Electing a Fresh TEMPO Board

The centerpiece of the TEMPO AGM was the election of a new board, marking a pivotal moment for the organization. Several founding board members, after four years of dedicated service, graciously stepped back to make way for fresh perspectives and ideas. So much hard work has gone into establishing this remarkable organization and we look forward to seeing the new perspectives that the next board will bring.

Tempo Board

From left to right : Sarah McTeigue (Italy-AMC), Are Syvertsen (Norway-NFK), Julie Dupré (France-LMA), Özcan Vardar (Turkey-KUDA), Karina Vilela (Brazil-AMC), Alejo Santos (Argentina-SAE), Michelle Tesoro (USA-ACE). Missing in the photo: Job ter Burg (The Netherlands-NCE), Sebastián Hernández (Colombia-ECCA)
©Photo: Filip Grobgaard

Growing Global Connections

One of the most exciting updates was the expansion of TEMPO’s membership. We warmly welcomed Ireland, Nigeria, Croatia, and Japan into the TEMPO family, bringing the total number of national organizations to 35, with over 8500 members worldwide. TEMPO has moved out of its infancy and is becoming a global force in our industry.

TEMPO AGM 2024

©Photo: Filip Grobgaard

AGM Insights: Task Forces and Collaborations

The AGM wasn’t just about elections; it was a platform for insightful updates. TEMPO has task forces dedicated to Events & Master Classes, Communications, Authorship & Copyright, and Artificial Intelligence. A special nod to the communications group for unveiling a sleek new website: (https://www.tempo-filmeditors.com/)

TEMPO’s ongoing partnership with Netflix was also discussed. The streaming giant continues to run training seminars in select countries around the world, and has relied on the expertise of TEMPO members to design and operate the courses. This partnership has provided TEMPO with an income stream to help fund its own initiatives, however the arrangement has been criticized by some members because Netflix has ultimate control over where these sessions are run. TEMPO remains committed to advancing editing skills and fostering international collaboration and is open to discussion about other educational options that could benefit a wider range of members.

Facing the Future: AI in Film Editing

A hot topic of discussion was the role of Artificial Intelligence (AI) in our industry. A dedicated task force, in collaboration with other industry organizations like Artsenico, Imago, et EFSI, is actively addressing the implications of AI. Concerns ranged from potential job displacement to the nuanced artistry of editing being overshadowed by AI-generated assemblies. These discussions mirrored recent concerns raised during the SAG strike in the US.

Facing the Future: AI in Film Editing

©Photo: Filip Grobgaard

Beyond the AGM: Editing Symposium at the Danish Film School

Post-AGM, the Danish Film School generously hosted a two-day editing symposium, treating attendees to master classes by renowned editors Mikkel E.G. Nielsen, ACE (THE BANSHEES OF INISHERIN, SOUND OF METAL), Yorgos Mavropsaridis, ACE (POOR THINGS, THE FAVOURITE), Elísabet Ronaldsdóttir, ACE (DEADPOOL 2, SHANG-CHI AND THE LEGEND OF THE TEN RINGS, JOHN WICK), and Michelle Tesoro, ACE, BFE (MAESTRO, THE QUEEN?S GAMBIT). We were extremely lucky that Michelle was able to provide an exclusive preview screening of MAESTRO prior to her talk.

The symposium wasn’t just about learning; it was an opportunity to connect with fellow editors, share experiences, and reignite the creative spark. Of course, we indulged in plenty of delicious food and drinks
along the way!

©Photos: Pauline Decroix

The CCE Advantage: TEMPO Membership

As members of the Canadian Cinema Editors (CCE), we left the AGM with a renewed appreciation for our affiliation with TEMPO. The organization’s ability to address global industry issues and influence international policy is a valuable asset. We would like to thank all the organizers of the event, particularly the Society of Danish Film Editors (DFS) as well as the National Film School of Denmark for graciously hosting us for the weekend. We look forward to the next chapter in TEMPO’s story.

For CCE members eager to dive deeper into TEMPO, the website, discussion forum, and social media channels are excellent resources. (All CCE members may access the discussion forum, contact Ali for more information). Those interested in contributing to TEMPO’s initiatives can reach out to Pauline Decroix for information on a joining task force.

Catégories
Communiqué de presse

Les Monteurs et Monteuses de cinéma canadien présentent leur 7e conférence annuelle, l’EditCon 2024

Les Monteurs et Monteuses de cinéma canadien présentent leur 7e conférence annuelle, l’EditCon 2024

Toronto, 15 décembre 2023 – The Monteurs et monteuses de cinéma canadien (CCE) sont heureux et heureuses de présenter l' EditCon 2024, la septième conférence annuelle sur l’art du montage qui se tiendra du 9 au 11 février 2024La conférence comportera des événements virtuels de même qu’en présentiel à Toronto, Montréal, Vancouver et Edmonton. Nous sommes aussi enthousiastes à l’idée de présenter un épisode de notre balado exclusif à l’EditCon! Il sera lancé tout spécialement le 1er janvier et accessible à tous et toutes!

Une vague d’innovations est à nos portes et de vastes questions émergent dans notre industrie. Mais la technologie n’est rien sans les personnes derrière, qui racontent les histoires. L’industrie se transforme et les monteur·euses se situent à l’intersection de ces changements technologiques. Comment se frayer un chemin dans ce monde nouveau et excitant? Par quels moyens les monteur·euses peuvent s’assurer de raconter les meilleures histoires possibles? L’EditCon 2024 donnera la parole à certaines des voix les plus talentueuses de la profession, qui nous parleront des défis qu’elles doivent affronter.

Tout au long de cette fin de semaine, nous assisterons à des tables rondes sur le montage de comédie, de films sortis en salle et d’émissions de téléréalité, où des monteur·euses parmi les meilleur·es au pays livreront leur savoir et leur expérience. II y aura aussi une présentation sur l’intelligence artificielle (en anglais et en français)

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 :

  • Beth Biederman – CANADA'S DRAG RACE : QUE LA MEILLEURE GAGNE
  • Dean Davis – CANADA'S DRAG RACE : QUE LA MEILLEURE GAGNE
  • Jonathan Dowler, CCE – CANADA'S DRAG RACE : QUE LA MEILLEURE GAGNE
  • Valentine Goddard - ART & IA: LES HISTOIRES DE DEMAIN
  • Maureen Grant, CCE – FITTING IN
  • Nick Houy, ACE – BARBIE
  • Drew MacLeod – SHORESY, LE SALAUD DU HOCKEY
  • Isabelle Malenfant, CCE – LE PLONGEUR
  • Kimberlee McTaggart, CCE – MOONSHINE
  • Justin Oakey – THE KING TIDE
  • Sabrina Pitre, CCE – FAKES
  • Jay Prychidny, CCE – MERCREDI
  • Lindsay Ragone – CANADA'S DRAG RACE : QUE LA MEILLEURE GAGNE
  • Sarah Taylor, CCE – HEY, VIKTOR!

Les billets seront en vente à partir du 18 décembre 2023. 

2024 Editcon Sponsor Banner-01
Avec la participation du gouvernement du Canada.
Catégories
The Editors Cut

Episode 083 – Wu-Tang: An American Saga with Marc Wiltshire

Episode 083 - Wu-Tang: An American Saga with Marc Wiltshire

In this episode Sarah Taylor, CCE sits down with editor Marc Wiltshire to discuss his editing career.

Marc Wiltshire is a TV and Film editor, passionate about storytelling. Most recently, he?s edited several episodes on season 3 of Hulu?s Wu-Tang: An American Saga, including the first-ever episode written and directed by co-creator The RZA, and season 2 of Peacock?s Bel-Air, including the season premiere and finale. As an editor, he is committed to making bold choices, protecting the story, and bringing the best version of the director’s vision to life.


Throughout his career, Marc has worked on an impressive list of acclaimed productions, including Emmy and Eddie award-winning Hacks, NAACP-nominated Our Kind of People, Lee Daniels? Star, the First Run Film Festival award-winner Oakland in Blue, and Fantasia Film Festival winner Bullshit.

Marc discovered his passion for editing while working on his first short film on a 16mm Steenbeck editing machine. While Marc pursued his MFA degree in Film & TV Production at NYU’s Tisch School of the Arts, he wrote and directed several short films, including award-winner My Avatar, which premiered at the Fantasia Film Festival. Originally from Montreal, Canada, Marc has lived in Italy, Scotland, Singapore, Vietnam and Japan. He currently resides in Los Angeles with his wife and daughter.

Écoutez maintenant

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

Kimberlee McTaggart, CCE

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

Vancouver Short Film Festival

Catégories
The Editors Cut

Episode 082 – In Conversation with Avrïl Jacobson, CCE and Annie Jean, CCE

Episode 82: In Conversation with Avrïl Jacobson, CCE and Annie Jean, CCE

Episode 82 - In Conversation with Avrïl Jacobson, CCE and Annie Jean, CCE

Today?s episode is the panel that took place March 8th, 2023.

It is an in depth conversation with editor Avrïl Jacobson, CCE and Annie Jean, CCE as they discuss their work on crafting powerful documentary films celebrating two bold and visionary indigenous women in Ever Deadly and Mary Two-Axe Early. 

The panel was moderated by Sophie Farkas-Bolla.

Écoutez maintenant

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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Événements passés

Assemblée générale annuelle du CCE

Assemblée générale annuelle du CCE
October 14, 2023

Cet événement a eu lieu le 24 octobre 2023.

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Le dynamisme du CCE dépend de la participation de nos membres, alors n’hésitez pas à vous impliquer!

À propos de l'événement

october 2023

12 h HNE

Zoom

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The Editors Cut

Episode 081 – Joy Ride with Nena Erb, ACE

Episode 081 - Joy Ride with Nena Erb, ACE

In today?s episode Nena Erb, ACE joins Sarah Taylor to chat about her editing work on the hilarious film JOY RIDE.

From first-time director Adele Lim (screenwriter of Raya and the Last Dragon, Crazy Rich Asians), JOY RIDE follows four Asian-American friends on a trip across Asia in search of one of their birth mothers, who end up on the journey of a lifetime.

You can check out the trailer here.

The film stars Oscar nominee Stephanie Hsu, Critics Choice Award nominee Ashley Park, Sherry Cola, and Sabrina Wu. The film premiered at SXSW in 2023 to critical acclaim, now boasting a perfect score of 100% on Rotten Tomatoes.

NenaErbACE2021

Nena Erb, ACE, is a picture editor based in Los Angeles. Raised in an Asian immigrant family, Nena’s father wanted her to be a doctor and her mother wanted her to be a pianist with the LA Philharmonic. Nena wanted to be Andy Warhol.

Armed with an art degree, a friend brought her into the industry and she started working in various capacities in production. It was her stint as an associate producer that opened her eyes to the impact of editing. It combined her love of photography and storytelling into one and she was hooked. Since then, Nena has edited projects for Warner Brothers, Apple, HBO, and others.

In 2016, she received an Emmy award on HBO’s documentary series PROJECT GREENLIGHT. In addition, she has received three ACE Eddie nominations; two for her work on HBO’s comedy-drama series INSECURE and the third for CW’s acclaimed series CRAZY EX-GIRLFRIEND. Nena received her second Emmy award in 2020 for her work on season 4 of INSECURE and a third Emmy nomination in 2022 for the final season. She recently finished JOY RIDE directed by Adele Lim for Lionsgate. Her parents no longer ask if she’d reconsider medical school.

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The Editor’s Cut – Episode 081 – Joy Ride with Nena Erb, ACE?

Nena Erb, ACE:

It is important to see yourself represented and to see women that are so like braved, they’re not afraid to be themselves. It was a good project for me. It kind of like gave me permission to speak my mind more. I have a tendency to like think something, and then, I count to 10. And by then, it’s like, who cares? So I don’t even say it, but now, I’m like, “No, I’m not gonna count to 10. I’m just going to say it.”

Sarah Taylor, CCE:

Oh, I love that. Yeah, we should all just say what we need to say. This is great. Hello and welcome to The Editor’s Cut. I’m your host, Sarah Taylor. We would like to point out that the lands on which we have created this podcast and that many of you may be listening to us from are part of ancestral territory. It is important for all of us to deeply acknowledge that we are on ancestral territory, that has long served as a place where Indigenous peoples have lived, met, and interacted. We honor, respect, and recognize these nations that have never relinquished their rights or sovereign authority over the lands and waters on which we stand today. We encourage you to reflect on the history of the land, the rich culture, the many contributions, and the concerns that impact Indigenous individuals and communities. Land acknowledgements are the start to a deeper action.

Today, I bring to you an interview with past guest, Nena Erb, ACE. We sit down and chat all things Joy Ride. If you haven’t had a chance to watch this film, please do check it out. It is hilarious and also very heartwarming. For those who don’t know Nena, in 2016, she received an Emmy Award for HBO’s documentary series, Project Greenlight. In addition, she has received three ACE Eddie nominations, two for her work on the HBO Comedy Series, Insecure, and the third for the CWS acclaim series, Crazy Ex-Girlfriend. Nena received her second Emmy award in 2021 for her work on season four of Insecure and a third Emmy nomination in 2022 for the final season. Nena’s parents no longer ask her if she should reconsider medical school. Without further ado, here is Nena.

Speaker 3:

And action.

Sarah Taylor, CCE:

This is The Editor’s Cut.

Speaker 4:

A CCE podcast.

Speaker 5:

Exploring.

Speaker 6:

Exploring.

Speaker 7:

Exploring the art.

Speaker 4:

Of picture editing.

Sarah Taylor, CCE:

Welcome back to The Editor’s Cut, Nena.

Nena Erb, ACE:

So good to be here. Thank you for having me again.

Sarah Taylor, CCE:

I’m so glad to chat more about what you’ve been up to over the last, I think we decided, three years like, Oh, it’s very exciting.

Nena Erb, ACE:

Yeah. Yeah, it’s been a while.

Sarah Taylor, CCE:

So just to catch the listeners up, for the people that maybe haven’t listened to your previous episode, can you just give us a bit of a Cole’s Notes on how you made your way to Hollywood?

Nena Erb, ACE:

I have an art degree. I did not go to film school. And afterwards, of course, what do you do with that, right? So my friend’s like, “Hey, come work with me in the art department.” And that’s kind of how I got into the business. You know? And I jumped around a lot, did a lot of different positions, until I finally found editing. And once I discovered what editing was, it just completely, the whole world just opened up. And I? yeah, was like I felt like I had come home in a way.

Sarah Taylor, CCE:

I feel that. So how long has it been now since you’ve started editing?

Nena Erb, ACE:

Oh my gosh. I was thinking about that. 20.

Sarah Taylor, CCE:

I’m with you. I’m 20 as well, so yeah. That’s awesome.

Nena Erb, ACE:

Yeah, I’m like, wow, time flew.

Sarah Taylor, CCE:

It really does, doesn’t it? When you’re doing something that you love, it just flies by. Yeah.

Nena Erb, ACE:

Yes.

Sarah Taylor, CCE:

So today, I wanted to talk to you about the wonderful film, Joy Ride, which it got me in stitches, and I cried. And there’s oh, it was so wonderful. You did a wonderful job. I want to know, how did you get involved with Joy Ride? And what were your first impressions when you were given the script?

Nena Erb, ACE:

I was on my last season of Insecure, and you know, as always, when you’re coming to an end of a project, you’re like, “Okay, let’s see what else is out there.” And my agents brought me several different projects, and I kind of was looking at all of them. And I said no to many, and Joy Ride was one that I said no to, not knowing anything about the script or anything about the filmmakers. It was just like, “Eh, no, it’s comedy. Move on.” Because I wanted to do drama, right? That was my goal. “Let’s do a drama. It’s been several years, so I need to do a drama.” And so, um and so the whole, you know, I just said no to a bunch of stuff. And after a while, they came back, and they’re like, “You know, I think the producers really want you to just read the script. No pressure. Just read it.” I was like, “All right. I am reading other scripts, so I’ll read this one too.”

And yeah, I remember I was on the Sony lot. I was reading the script and taking a little break and waiting for, I think I was waiting to go back for notes or something. And I’m reading it and I’m laughing, and of course, if you’re walking by, and you don’t know what’s happening, you must think, you know, I’m losing my mind. I’m just laughing, um, like loudly. And then, it came to the end, and I was sobbing and crying uncontrollably. And I’m sure, again, people were probably like, “Oh, that’s an overreaction from someone messing up your coffee or something.” But, yeah, it grabbed me. It just resonated so deeply with me for so many reasons.

And I ran back into my edit bay, and I was like, “All right, let?s take a? I need a meeting. I need to meet these people.” Because it was the dirtiest but funniest script I’ve ever read. And then, just the way it hits you at the end, I was not expecting that. And plus, I’m also very good at compartmentalizing, when I’m watching dailies, to really be objective. So I did not expect for that to grab me the way it did and to make me that emotional, so.

Sarah Taylor, CCE:

Amazing. From reading the script initially to the final film, were there any major changes that happened in the script?

Nena Erb, ACE:

Yeah. Yeah, there were. You know, my first cut was two and a half hours long. Because there?s ,you know, a lot of improv, and a lot of jokes, and jokes that led into other jokes. And so, I just wanted to put everything in there, so we can have a version where the words are on their feet, right? And so, that’s what I had. And then, after working with the director and the producers, you know, we very dramatically started cutting things out. And, and as expected, because no comedy would be two and a half hours long. So yeah, some of the change scenes that we lost were a scene between Lolo and Kat, scene between Lolo and Baron, you know, where he’s kind of letting her know that she?s, she has to be the calm one.

Like she’s usually the one that’s like very chaotic, and so, she needs to kind of find her inner peace and do something that makes her happy versus, you know, makes Audrey happy. And the other scene with Kat was when they’re both sharing their saki or soju and kind of realizing through their conversations that they’re more similar than not, right? And so, it was kind of like their bonding scene, the way that Deadeye and Audrey had their bonding scene were poker. So those were some of the scenes that we lost. But I had say the biggest difference is the slapping game, at the gay bar.

Sarah Taylor, CCE:

Yes.

Nena Erb, ACE:

It was much, much longer. It was like we had seen the two guys that started, they go through their game, and then, you know, Kat and Lolo come up and they’re eyeing each other. And the first time they do their toss out their numbers, I don’t even know what you call that, but yeah, so it was a tie. And so, they both had to slap each other. So they did that, and then they do it again, it was another tie, so they had to slap each other again, and then, again. And then, finally, Kat wins, and then, she just you know, kind of socks it to her, one really, really good punch.

And that was a version that was in the script. You know, we had tried that. We have that definitely. And then, we tried it with much more of their improv, because they, they really went at it. They went off the improv script. They did the improv jokes that the writers wrote, and then, they just kept going. And they were goading each other on. It was hilarious, but too long. And so you know, we’re trying to find what’s funniest and what feels the best pacing wise. And so, we’ve gone through a lot of different iterations of that scene. And um, finally, towards the end, I remember just thinking, “What if they just beat the crap out of each other? What if there’s no dialogue, no tie, they just get in there and then, they start hitting each other?” And they’re like, “Well, if you can make that happen.” And of course, after I say it, I’m like, “Oh, can I make that happen? Do I have what it takes? Haha in the material, in the dailies, to make this happen?”

Um and it was a challenge. I was kind of kicking myself, I’ll be honest, after you know, after I was trying it, because they never shot it where it was a ton of different hits to each other. So I had the ones that I had, and you know, there weren’t that many takes. It was a very complicated scene at the club. So yeah, I had a lack of options. I didn’t have a lot of options to work with, in terms of variations of them slapping each other. So a lot of it was cheated by either removing frames or adding frames and sound design to make it seem like it escalated to the final like punch. You know so yeah, so that was definitely very different, and I’m relieved that I was able to carry it off. And next time, I will think twice before offering a suggestion. Hahaha?

Sarah Taylor, CCE:

That’s a good tip for editors out there listening. But sometimes, we challenge ourselves in the best way, because it makes like a really great scene. And that scene was fantastic. It made me laugh so hard. You mentioned improv a few times in your last statement, so you got to work with so many hilarious actresses and actors. I could tell that there was gonna be, you dealt with a lot of improv. So how did you like you did your first cut, you put everything in, but how did you maybe decide, in the end, what jokes could stay? How did you, you know, maybe try to end a joke of their improv before? Cause you know they always just keep going, keep going. I’ve dealt with that too. So how did you handle the improv?

Nena Erb, ACE:

Oh, yeah. There were definitely a lot of improvs that just kept rolling. You know they build off the improv, off the improv, and then, they keep building. Um and you know, most of the time, I just go with my gut. It sounds simply oversimplified, but it’s really how… Yeah, it’s what I trust. I trust my gut. If it’s making me laugh, great. If I feel like it’s going on too long, I’ll just find a good place to cut. Point gray are geniuses. I mean they’re so, like well-versed in comedy. And the way that they shot this improv, I honestly you know, I’ve worked on a lot of comedies, they shoot improv all kinds of different ways, but they had it so planned out that all the improv was in their singles. And it was just genius. It was so smart, because you can make it work easily, you know, rather than if it’s on a two shot or slide and you know.

And every once in a while, there’s a you know over the shoulder, and that’s fine. I figured out ways to get around that for continuity. But? yeah, so they did it that way. They cross shot, so it’s not like, “Okay, we’re on one side. You do your improv line. Then we turn around for the reaction.” The reactions are in the moment, and it was just so, so great um. So they made it very easy to try different jokes. At the end of the day, I rank my jokes. If it made me laugh really hard, then it’s a five or a six. If it didn’t make me laugh that hard, it’s like a one or two. And then, sometimes, if it was like, didn’t even make the chart, I just put okay, hahaha, in the locator notes.

Sarah Taylor, CCE:

I love it. That’s great. Yeah.

Nena Erb, ACE:

So yeah, I had a way of tracking it. I had a way of making up a lot of different versions. So for each scene that had improvs, there was probably like, 10 more versions, each version with different improvs and different combinations of improvs.

Sarah Taylor, CCE:

So would you like then you’d cut the scene that was scripted, and then, you would do, say, 10 different versions of that same scene, so you could drop it into the cut if you needed to see? Is that kind of how you…

Nena Erb, ACE:

Kind of, kind of. Yeah, I would have the version that I like best, and then, I would kind of subclip you know the joke out, but a little padding on either side. And basically, what I would do then is like, okay, I would swap out another joke, and sometimes, you have to you know, change the going in and the entrance, and the exit to make it work, because people are suddenly in different positions, whatnot. Um so yeah, I had a lot of different versions of that. I realized, in the beginning, I was cutting and thinking like, “Oh my gosh, I’m moving so slow. I can’t believe I’m like, only getting through like X number of scenes.” Then I realized, “Wait a minute, I’ve actually cut like 45 minutes of content, because of all the different improvs, so I’m not actually moving that slow.”

Sarah Taylor, CCE:

Yeah that?s, that’s the most, I feel like that’s the most challenging part with comedy when you have actors that are hope that are good at improv. Um and yeah, I did a I did a feature recently, and our first cut was two and a half hours as well. And it was just like, “What jokes do we cut?” But on that note, I know that there’s a few jokes in this film I recently cut was called Hey, Victor and um, that still make me laugh today. So are there ones that just still hit you like they did when you first heard them?

Nena Erb, ACE:

Oh my gosh, there are so many different ones. I may have to think about this.

Sarah Taylor, CCE:

I sprung it on you.

Nena Erb, ACE:

Yeah. Oh my gosh. Yeah, we’ll have to come back.

Sarah Taylor, CCE:

Who was the team that worked with you with end post? Did you have some assistance? And what was your day-to-day process like?

Nena Erb, ACE:

Yeah. Yeah. I was fortunate and I had a whole team, first assistant, second assistant, and a PA. And I got really lucky. I found some really great people that really knew what they were doing, and it was a good team. It was a good team, and it was all female, which is great. And then, of course, if I needed like a male ADR, I would make sure they went around the building to see who was available and willing to do our temp ADR. And fortunately, we were at Pivotal Post and EPS, and there were other people around, so it was never a problem. But yeah, they were great. A lot of them were new to me, because I think the last time we talked, I was on Insecure, and my assistant, who received the Emmy along with me, she’s now editing. So I’m very, very excited for her, and so you know.

And so, obviously, I was like, “You go do your editing, I’ll find a different team.” and um so yeah so this was a whole new team to me. And learning everyone’s preferences and how they work was very fascinating. In the beginning, I would talk to them and see, “Okay, what are you really into?” And I found out that Tori, my first, was really into sound design.

Sarah Taylor, CCE:

Hmm great perfect

Nena Erb, ACE:

So I know, okay, the hard sound design, give it to her. I actually gave her all the sound design, and then, I found out that our second, Melissa Khan, was great at After Effects and TempVFX. So she got all that, and then, we had a little hiatus. I don’t know if you heard about that, but we had a hiatus and then came back for additional photography. And at that point, Melissa had already been got a job on another movie, so she couldn’t come back. So I had to find a new second. And we hired Joya Caruso. Fortunately, she was also good at VFX, so it was like, somehow, I came up with the perfect team.

Because editors care about sound design tremendously, but we don’t have the time to really dig into it. And I also try my best to have good TempVFX, but again, I can’t do a lot of it in the Avid. So it’s nice when I have an assistant that knows how to use After Effects or Photoshop or whatever other tools they have to make these temps happen. So yeah, so it was a good team. I got really lucky.

Sarah Taylor, CCE:

Sounds like a dream team. I love it. That’s great. You mentioned you took a break, and so, and so how much of like, were you I’m assuming you were cutting as they were filming, you took a break and came back and started cutting as they were filming again?

Nena Erb, ACE:

Yes.

Sarah Taylor, CCE:

How long after photography did you have to get to your like editor’s cut and stuff like that?

Nena Erb, ACE:

We started September 21st in 2021, and then, we took our hiatus like April 8th, I think it was that week. We had gotten the film to the second preview, and then, realized, “Okay, we need X, Y and Z to kind of you know to take the film into the direction that we want it to go in.” And so, the original idea was like, “Oh, I wish to do like a short six week break.” But then, of course, as you know, Ashley and Stephanie, Sherry, they’re all very, very busy. They’re busy actors. And Sabrina was touring, doing her standup.

So we had to, for schedule-wise, push it back a little bit, and then, we reconvened in November of 2022. And then, locked picture, I want to say like mid-January, mid-January, yeah. Yeah. Because we had another a third preview. And so, it was a lot, but additional photography, it was only for like, a handful of scenes. It wasn’t a lot. So I only got one day, after last day of dailies to get my editor’s cut together, because a lot of bulk of the film was not changed. So just the new material. So we had to get it together very quickly. And then, it was watching it down from the beginning to make sure that, “With the reshoots, are we repeating ourselves in the beginning? Or is something else not making sense now?” So it was a fascinating process.

Sarah Taylor, CCE:

So you did three previews. So from those previews, what kind of stuff did you take into consideration in the edit?

Nena Erb, ACE:

Most of it was always for clarity. I think a lot of the issues that we deal with, it doesn’t matter what movie, usually, what we learn from previews is that, you know, the filmmakers, myself included, might’ve been a little too close to material. And so, there are things that we may have lost, that need to go back in, you know, to kinda really flesh out the setup or for clarity purposes. And, and sometimes, you know, you notice, I’m sure you’ve experienced this as an editor yourself, you see like, the smallest little nuance in the performance, and you know the difference, but is that coming across as clearly to the audience, right?

Sarah Taylor, CCE:

Yeah.

Nena Erb, ACE:

Yeah, so that’s always a question that we end up answering a lot.

Sarah Taylor, CCE:

What would you say was the most challenging scene to cut?

Nena Erb, ACE:

All the set pieces, all of them. No, the one on the train with the drugs.

Sarah Taylor, CCE:

That was so good.

Nena Erb, ACE:

And the one with all the?our main four with the basketball players at the hotel, that big long, yeah, I don’t even know what you call that, the orgy? But that’s not really an orgy for everybody. So yeah, it’s not really the right word for it.

Sarah Taylor, CCE:

Yeah, they’re all individual moments, sexual moments. I don’t know what you’d call it.

Nena Erb, ACE:

So yeah, so those two were probably the hardest and not for any reason other than you have to make them funny. And for the drug scene, what I realized was, you know, my first cut, just following the script, not even adding any extras, it was too long. It was like two minutes, um and we had to cut down. And that was down to a minute, and it still just didn’t feel quite right. And then, finally, we’re like, “Why don’t we speed it up?” I was like, “Oh, that sounds kind of cheesy, but why don’t we all try.” So yeah, I added some speed ramps to the images, and that kind of made it funnier, in a very you know, childish kind of way, which I’m all for.

And and that was really helpful too, because as I’m cutting down, I’m realizing I’m making the shots shorter and shorter, and so, sometimes so short that you don’t really get the full action of what they’re doing. And so, that tends to kind of like make it a little more murky and unclear what’s happening. So using the speed ramps, you can see the full motion of you know, someone snorting coke or putting coke up someone else’s behind.  So there were definitely funnier shots too that we had to lose, because it didn’t help tell the story. They were just funny little asides.

Once we had a decent cut, the challenge was finding music. We went through so many different songs. It got to a point where I think… Toko Nagata is our music supervisor. I was like, “Toko, you have to be patient with me. We’re going to go through a hundred songs with just this one thing, so so you know just bear with me.” And she was great about… She’s such a good sport, just always finding stuff. We tried classical, like Blue Danube, and then, we’ve tried instrumental, we try we had the composer, Nathan Michael David, compose some stuff to one of the earlier cuts. And it was like, “Well, that’s not quite the right vibe, because we’re looking for something super frantic, but funny.” And then, ideally, it’s not just a driving beat, it has to have accents for certain moments, when Sabrina’s putting something up Kat’s butt.

So ? yeah, it was a lot of experimentation. And finally, Toko said, “Try this one. It’s a little quirky and a little off kilter, but maybe it’ll work.” It’s Burnt Rice by Shawn Wasabi. And it was perfect. It was completely off kilter, not what you expect to go with that scene. And yet, somehow it worked, and it had these great accents and stops and starts, that just like really helped elevate that piece for me.

Sarah Taylor, CCE:

Yeah, so when you finally found the song that fit, did you then go in and cut to those moments in the song? Or did you manipulate the song to work with what you had already cut?

Nena Erb, ACE:

I made the song to work with whatever we cut, yeah and that was always fun.

Sarah Taylor, CCE:

You’re like, “And I’ll move this here and I’ll move that here.” Yeah, that’s awesome.

Nena Erb, ACE:

Yeah, exactly. Yeah. And what was great was that we had a music editor too. We have two music editors, Jeff and Emily Kwong, and they were great. They’re such good sports. I would kick them stuff all the time and say, “Can you turn this around like ASAP?” And they would do it.

Sarah Taylor, CCE:

I’ve never worked with a music editor, so I’m curious, and maybe other people would want to know too, so would you do your like rough cut of the track to fit what you needed? So if maybe it would needed to be 30 seconds, and this one thing had to happen at the 15 second work, you do your rough cut of it and then, ship it to them, and then, they would make it musically sound amazing?

Nena Erb, ACE:

Yes and no. For my editor’s cut, they hadn’t come on yet, so I did all my temp. And then, once we started doing notes and if we wanted to switch out songs, you know because once you’re in notes, you don’t have time to stop down for music editing, because it’s very time consuming trying to make certain things fit where you want it to fit versus where musically it wants to be. So that’s usually when I would send them that scene and say, “Hey, we want to try these five different songs. Can you just make it work?”

And so, they would kind of like listen to the songs and pick the right parts, and that was what I loved about them. And I think a lot of music editors are the same way. They don’t think that music is just laying down a track. I think they all listen to the whole thing and pick the right parts of the lyrics, pick the right parts of you know the chorus, the verse, and kind of put it together in their own little recipe, very similar to the way an editor would. So I just really appreciated how they work, because that’s what they did. 

Sarah Taylor, CCE:

Yeah, that sounds amazing. I might have to get myself a music editor on my next show. Anyway, what was the most enjoyable scene to cut?

Nena Erb, ACE:

Honestly, I enjoy the entire thing, but I think there’s one scene that was super, super special to me. And it’s a very simple scene, just um Audrey getting dressed the next morning, Lolo’s putting on her you know makeup and earrings and whatnot. They’re getting ready to go to the adoption agency. So it’s just a conversation, simple, innocuous conversation between the two of them, where Audrey kind of like bears her soul and talks about what it was like to be adopted. And she kind of wonders if her life would’ve been different had she not been.

And?and it really resonated with me, because my mom was adopted. And so, I remember having a lot of different conversations with her about like you know you know, “Do you know why you were given up?” And she was always wondering herself, too. And what that means, what being adopted means. You’re the outsider kind of in your family, that basically chose you. So it’s a whole, it?s a lot to unpack, right? Yeah. So the whole thing, belonging, identity, all of that, that was stuff that I talked to my mom about quite extensively. So when I saw that scene, I was like, “Oh, I’m going to really enjoy cutting this.” And I did.

Sarah Taylor, CCE:

And I think that’s why Joy Ride also resonates with a lot of people out there. There’s not a lot of stories representing this ? this idea of growing up in America and then going to “where you’re from,” and that whole thing. And then, yeah, discovering this whole other side of you that… And we don’t get to see people unpack that on screen, and I think that?s? it’s so important. Yeah, I think Joy Ride did a good job at that.

Nena Erb, ACE:

Oh, thank you. Thank you. Yeah. At South by Southwest, I expected people to laugh, and kind of sniffle at the emotional parts. What I didn’t expect was, during the Q&A, many adoptees came up and they just were very emotional about the whole thing, seeing their story unfold the way that it did. And and it was so touching you know. One of the adoptees, what she was talking about was so heartfelt that she came up to the stage, and Ashley part gave her a hug. And they had exchanged some words. No one knows what was said, but it was just such a sweet moment. I think everybody was crying.

Sarah Taylor, CCE:

This is, and those are the moments where you’re like, “This is why we make 10 versions of a scene. This is why we do what we do, right??

Nena Erb, ACE:

Exactly.

Sarah Taylor, CCE:

Oh, that’s really great to hear that you got to see that feedback in real like in action and oh, that?s beautiful. Love it. I love it.

Nena Erb, ACE:

Made it all worth it. 

Sarah Taylor, CCE:

Totally. Yeah. You have done a lot of TV, from what I have seen and what we talked about before. So was this one of your first major films? Or had you done like feature film work before?

Nena Erb, ACE:

Yeah, but they’re mostly um smaller independents. This was probably my first studio feature. So there are different things to learn about the studio system versus independence, where you’re just kind of making it up as you go along in the studio to give notes.

Sarah Taylor, CCE:

Yes. So what was the biggest change in your workflow that you had to do, maybe coming from the TV world to the feature world?

Nena Erb, ACE:

It’s very interesting. it’s um you know I think, from the outside looking in, you would think that features have all the time in the world, right. I think, um in television, if you’re doing a half hour, you have two days after last day of dailies. If you’re doing a one hour, you have four days, ideally three to four days after last day of dailies, to get your editor’s cut together. Um well, as you know, my first cut was two and a half hours, and I only had four days after last day of dailies to get that together, to really polish the entire everything and score the entire thing. So yeah, in that sense, I had less time than I would if I was on a TV show um, but in the grand scheme of things, you have more time after that to experiment, because you have 10 weeks with a director. On TV, you have two to four days, if you’re lucky, you know um, and then, you have maybe two weeks with a producer who’s a showrunner on TV shows.

And um this time, it was like, I think the producers came in around week six. Or no, they came in pretty early. They came in at week five of director’s cut, because our director just felt like she was ready to show it. And so, yeah, they came in, and so, they had quite a bit of time um, normally, I’m not really sure if there’s a standard, in terms of like how many weeks producers get, but yeah, they came in at week five during a director’s cut. And then, just kind of, from there to the end, they were very, very involved and a part of the collaborative process, so they had a lot of time versus TV.

Sarah Taylor, CCE:

Totally. So you still have to go quick at the beginning, and then, you get to have time to really massage your notes and go do all that stuff after the fact.

Nena Erb, ACE:

Yeah, and you get a lot of time to experiment like, “What would happen if we just take out this complete storyline? you know Yeah, what would happen if we lost this entire scene?” you know And then, previews would be the biggest difference between the two. Films, you preview. In TV, you don’t really do that.

Sarah Taylor, CCE:

No, no. You mentioned that you came to Canada to do the sound mix, and so, how has that experience like? Often in TV, do you have the time in TV to go and actually do a sound mix? Is that usually afforded?

Nena Erb, ACE:

Yes.

Sarah Taylor, CCE:

Okay. So what was the difference coming to Canada to be part of… Well, not that it matters that it’s Canada, but I like that it’s Canada. What was your time like?

Nena Erb, ACE:

Oh, I love that it was in Vancouver. It’s the first time I’ve ever been there, and um you know the city is great. There’s so much good food. And then, the weather was pretty, it was cold, but it wasn’t wasn’t like blizzard cold. We only had a snowstorm for a few days that I was there. It was very easy to get around. People were so nice. It was bizarre. It was like, coming from LA, you’re just used to people honking and driving crazy on the road. And over there, I think I was there with Tori, my first, and after the first few days, I looked at her, we’re at dinner, I’m like, “Am I imagining this or no one honks here? Have you heard of anyone honk?” And she’s like, “No, I haven’t.” I was like, “Okay, okay, so no one’s honking.” So I think, at the last week we were there, I heard one person honk.

I was very excited. But that’s just my observation of Vancouver. But the sound mix itself, I usually try to make time for it on TV shows, but oftentimes, you’re doing dailies, so then, that just means your days are longer, if you want to go do your sound mix. For Joy Ride, it was such a luxury to have three weeks to work on your mix. you know and you’re there for ADR, you’re there for a large amount of time, and it’s nice. It’s nice to be able to have that time and not feel rushed like, and feel like you may miss something afterwards. Because if you did, that’s okay. We’ll be back next week to do it again.

Sarah Taylor, CCE:

Wow, that’s such a novel experience for me. I don’t know if it’s just a Canada thing or an Alberta thing, but I’ve been to only one sound mix in my whole career. And it was amazing. And I was like, “This is great.” And I was like, “I should do this all of the time,” but it’s just never afforded in the schedule. And so, unless I decide to just go on my own, which I could, but then, I’m always on something else. But yeah, for the people that haven’t experienced that, what is it like? You like sit there and you suggest sound effects, kind of, if you don’t mind, just a little process of what it’s like to be on the sound stage.

Nena Erb, ACE:

Um you know Some editors wanna be there, when they’re building it all together, but I like to just give them time to do their thing. And I’ll come back and give notes, ideally, before the director and before the producers. For TV, I definitely get in there for at least a day before the producers are there for playback, just because I’m looking for things that they may not be concerned about you know. And same thing for the movies. You go there, you watch. For features, because they work in reels, they’ll say, “Okay, we’re going to work on reel one today, day one, reel one.” So they’ll play it. You watch it, you kind of make notes and either time code or like film and feet, you know frames and feet and stuff, um and yeah, you just kind of listen for things. Is the entire line of dialogue clear? Is the sound effect right? Is it too loud? Is it not loud enough? You know how does music sound in combination with all of it you know?

Yeah, it’s a lot of that. And sometimes, you’ll have a great sound effect, but then like, in certain places, it sounds like a production mistake right. And so, you’ll catch those moments. It’s like, “Okay, so at this frame here, can you just lift out that little whatever it might be? Because it sounds like someone dropped a hammer versus what it’s supposed to sound like.” So yeah, it is really, really interesting how things like that come across. And so, I love the process. 

Sarah Taylor, CCE:

Now, I’m going to have to see what project I can sneak in on, because yeah, I think there’s times where I’ll listen to the audio after and be like, “Oh, man.” I remember going to a screening of one show I did. It was a big launch, episode one played, and I was like, “Ah, the music’s too loud.” So yeah, maybe I should be allowed to do it. Yeah, I’m gonna, I?m gonna to advocate for myself to go to the sound mix. That’s what’s going to happen.

Nena Erb, ACE:

Yes, yes. No, I highly recommend it, because yeah, there’s nothing worse yeah, than watching something that’s already done and you’re just cringing, because the music is too loud or not loud enough. you know Yeah, or the ADR sounds like ADR, right?

Sarah Taylor, CCE:

Yeah. Yeah, exactly. Yeah.

Nena Erb, ACE:

That’s one thing I look for a lot in the mix. It’s like, “Hey, can we make sure that blends a little bit better? Can we dirty that up, so it’s all sounds the same?” Because ADR has a tendency to sound very clean.

Sarah Taylor, CCE :

Yes, for sure. Yeah. Okay. Well, I’m going to take those tips into my next thing. Was there anything from this film that you learned that you’re taking  onto your next projects?

Nena Erb, ACE:

Yes. I have definitely learned a better way to organize myself when I have a lot of different options and all you know of a scene, because naturally, I do like different versions to myself, even without improvisation. But I think I hadn’t figured out a really efficient way to manage that until now. And honestly, I’m sure it’ll probably progress and evolve and change as things go on. But having to do that on a feature is, is like it’s it’s a lot, you know cause every scene, there’s something. And so, you have like 120 scenes, and it within that, are all these different versions. So so yeah, so I had to be really organized and quick about it, because when you’re working with them, they’re in the room. You wanna quickly be able to access that version and then, make changes and still keep it all organized.

Sarah Taylor, CCE:

A hundred percent. Yeah. like okay. Take it from this bin and adding it to this. Yeah. Oh, I can see how that could get very complicated and wrong sequences could be dropped in. So yeah, organization is such a huge thing in the editing world and how like I find it’s constantly evolving for me as well. And having an assistant who’s really good at organizing is like so, so lovely. I love them when they’re organized. Yes. So anyway, shout out to my assistant, Blair, who does the best organization ever. Yay, Blair. So what what’s coming up next for you? Or what are you working on now? And what can people go watch?

Nena Erb, ACE:

Um I’m on a Marvel project right now. Um yeah, unfortunately, I can’t say too much about it.

Sarah Taylor, CCE:

That’s okay.

Nena Erb, ACE:

Or like the Navy SEALs’ gonna crash through my ceiling and take me away.

Sarah Taylor, CCE:

Yeah like something really very dramatic will happen.

Nena Erb, ACE:

Right. But hopefully, you know it’ll be ready to come out sometime in 2024, provided that hopefully the strike ends soon, we can all go back to work.

Sarah Taylor, CCE:

Yeah. So what’s been happening for you right now with the strike?

Nena Erb, ACE:

I’m not working right now. I’m just enjoying a little time off. Yeah. I was very fortunate to be working up until the end of July. So yeah, time off for me is a welcome thing right now, so but I know that it’s been really hard for a lot of people in this industry. So as terrible as it is, I mean we all know that it’s difficult, but it’s the right thing to do to strike.

Sarah Taylor, CCE:

Hopefully it doesn’t last too much longer, and we can get back to creating really funny, hilarious movies like Joy Ride that also impact people and have themselves being seen on screen, which is so important. So um yes. So thank you for all of the amazing work you’ve done on Joy Ride. Anybody out there, please go watch this film. You can rent it now online. I’m sure there’s other places you can stream it from, but oh my gosh, it’s so funny. So go check it out. Is there any last nuggets that you want to share with us today, Nena? Oh, we got to circle back to your funniest joke. Circle back to the joke.

Nena Erb, ACE:

Funniest joke? I think it’s the, “You’re thinking about a penis.”

Sarah Taylor, CCE:

Hahaha, yes.

Nena Erb, ACE:

Or the chubby bunny thing.

Sarah Taylor, CCE:

Yes. Oh, okay. Very good.

Nena Erb, ACE:

Yes, yeah. And the most obscure jokes are, there’s so many that are very culturally specific. But yeah but yeah, the chubby bunny one is definitely one that gets me every time still.

Sarah Taylor, CCE:

Oh, I love it. Can I ask you, what was it like for you, as an Asian American, getting to work on this film that was pretty much a full cast of Asian people?

Nena Erb, ACE:

It was weird, I’ll be very honest with you. I don’t think I’ve done many projects for like where I see Asians everywhere. It’s all over my dailies. It’s like, “What?” Usually, it’s like you have one or two. You know um, And so, it was refreshing. It was? It was great. It was really, really great. Um and I hope that happens more, because you know I think, for not just Asians, but for everybody, cause it’s important to see yourself represented and to see women that are so like braved to do whatever you know to say things, they’re not afraid to be themselves and it was just a really, it was a good project for me. It kind of like gave me permission to speak my mind more. Um I have a tendency to like think something, and then, I count to 10. And by then, it’s like, who cares? So I don’t even say it, but now, I’m like, “No, I’m not gonna count to 10. I’m just going to say it.”

Sarah Taylor, CCE:

Oh, I love that. That’s amazing. Yeah. We should all just say what we need to say. This is great. Oh, that’s wonderful. Well, thank you for sharing your journey on Joy Ride. It was quite fun. And I hope that we can maybe connect and talk about your next project when it’s all out and ready to go.

Nena Erb, ACE:

Oh, absolutely. Yeah. I love talking to you. You’re amazing.

Sarah Taylor, CCE:

Great. Thank you so much. Okay. Have a good one.

Nena Erb, ACE:

Thanks.

Sarah Taylor, CCE:

Thanks. Bye. Thanks so much for joining us today. And a big thanks goes to Nena, for taking the time to sit with me. Special thanks goes to Alison Dower and Kim McTaggart at CCE. The main title sound design was created by Jane Tattersall, additional ADR recording by Andrea Rush. Original music created by Chad Blain and Soundstripe. This episode was mixed and mastered by Tony Bao. 

 

The CCE is proud to support CREATIVES EMPOWERED. CREATIVES EMPOWERED is a nonprofit collective of artists and creatives. They are Black, Indigenous, and people of color empowering each other as an allied community. They are film and TV, media and arts professionals from emerging to established based in Western Canada. They’re the first and only organization of its kind in Alberta. CREATIVES EMPOWERED is inspired by and embodies what is truly possible when racialized talent are empowered to thrive.

Speaker 8: 

The CCE is a nonprofit 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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La Semaine de sensibilisation aux maladies mentales (SSMM)

La Semaine de sensibilisation aux maladies mentales (SSMM)

La Semaine de sensibilisation aux maladies mentales (SSMM) est une campagne nationale annuelle de sensibilisation du public visant à ouvrir les yeux des Canadiens sur la réalité de la maladie mentale.

Sarah Taylor (animatrice de notre balado The Editor’s Cut) et sa sœur Heather ont produit une série en trois épisodes, You’re Not Alone: Navigating Life with Mental Illness pour leur balado intitulé Braaains.

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Le CCE émet une déclaration de solidarité avec la WGA et la SAG-AFTRA

Le CCE émet une déclaration de solidarité avec la WGA et la SAG-AFTRA

Le CCE veut exprimer son soutien envers la WGA et la SAG-AFTRA qui font grève afin d’obtenir des contrats plus équitables auprès de l’Alliance of Motion Picture and Television Producers.

Les auteur·ices et les interprètes méritent de récolter leur part du succès obtenu grâce au travail qu’ils et elles font pour les grands studios d’Hollywood et les entreprises de diffusion en ligne milliardaires. Ces artistes ne devraient pas avoir à craindre que leur travail soit récupéré par l’IA sans leur consentement ou sans compensation appropriée.

Comme notre mission est de représenter les membres de la communauté de la postproduction et de combler ses besoins, nous soutenons, au CCE, les efforts des travailleur·euses du cinéma et de la télévision qui veulent connaître le succès dans leurs carrières grâce à des ententes équitables. L’entièreté du modèle d’affaire de notre industrie s’est vue transformée par la diffusion en ligne, la distribution sur internet et l’IA. Il est donc tout naturel que la rémunération de ceux et celles qui sont au cœur de nos histoires déployées à l’écran connaisse aussi une évolution.

Nous sommes solidaires avec les membres de la WGA et de la SAG-AFTRA.

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