{"id":22278,"date":"2022-04-05T02:00:00","date_gmt":"2022-04-05T06:00:00","guid":{"rendered":"https:\/\/cceditors.ca\/?p=22278"},"modified":"2022-10-08T17:44:20","modified_gmt":"2022-10-08T21:44:20","slug":"episode-0061-editcon-2021-when-tv-saved-us","status":"publish","type":"post","link":"https:\/\/cceditors.ca\/fr\/2022\/04\/episode-0061-editcon-2021-when-tv-saved-us\/","title":{"rendered":"Episode 061: EditCon 2021: When TV Saved Us"},"content":{"rendered":"\t\t
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Episode 061 - EditCon 2021: When TV Saved Us<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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This episode is part 3 of a 6 part series covering EditCon 2021 that took place virtually in February 2021.<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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As the world settled into lockdown, TV entertainment went from distraction to lifeline. With audiences trying to make sense of world events, stories and characters matter more than ever. As the entertainment landscape shifts to meet an unprecedented need for engaging content delivered on-demand to an audience stuck at home, how will this change the stories we tell, and the way we tell them? The editors of some of the most binge-worthy shows reflect on how their work landed in this time and place, what the stories meant to audiences, and how that affected their process during a pandemic.\u00a0<\/p>

In today\u2019s episode we hear from Amy E Duddleston, ACE, Wandy Hallam Martin ACE, CCE, Laura Zempel and Stephen O\u2019Connell.<\/p>

This panel was moderated by the wonderful Christopher Donaldson, CCE.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Amy E Duddleston, ACE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Amy E. Duddleston, ACE has over 30 years of experience in feature and television picture editing. Starting out as an Apprentice Editor, she made her way up to Assistant Editor, working on films like MY OWN PRIVATE IDAHO, CORRINA, CORRINA and TO DIE FOR. As an editor, she cut 20 features, including HIGH ART, LAUREL CANYON, ELEGY and Gus Van Sant\u2019s remake of PSYCHO, as well as over 70 hours of television on series such as DEXTER, THE KILLING, VIDA and most recently, HUNTERS. She is currently editing the limited series MARE OF EASTTOWN, starring Kate Winslet, for HBO.<\/p>

She has been a member of the Motion Picture Editors Guild since 1991, and currently serves on the Board of Directors. She is also a member of American Cinema Editors, AMPAS and the Television Academy.<\/p>

Amy is a graduate of the University of Arizona with a BFA in Fine Arts Studies. She lives in Los Angeles with her wife Hilary and daughter Lucy.
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Wendy Hallam Martin, ACE, CCE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Multiple award winner editor Wendy Hallam Martin, is best known for her work on the Emmy and Golden Globe winning series, THE HANDMAID’S TALE. Wendy has received two Emmy nominations and won her first Emmy for the second season premier entitled “June”. She also won an ACE\/Eddie award for the pilot, \u201cOffred\u201d. Her other work includes the critically acclaimed cable series AMERICAN GODS, MGM\u2019s spy thriller CONDOR which she edited and co-produced, Showtime\u2019s THE TUDORS, THE BORGIAS and QUEER AS FOLK to name a few. Wendy resides in Toronto, Canada with her husband and two children.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Laura Zempel<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Laura Zempel grew up in Sacramento, CA and received a BFA in Film Production from Chapman University. She began her career in Film and TV as an assistant editor on DEXTER and has gone on to edit HBO\u2019s ROOM 104 Room, EUPHORIA and most recently AMC\u2019s DISPATCHES FROM ELSEWHERE.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Stephen O'Connell<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Born in Dublin, Ireland, Stephen has been editing drama & documentary across Europe for 25 years. His work spans time with U2 on music promos and documentaries in the 1990\u2019s to television dramas for BBC, RAI, Amazon, Netflix, Starz, CBC, HULU, SKY amongst others. Projects include\u00a0THE NAME OF THE ROSE, HOWARD’S END and NORMAL PEOPLE,\u00a0<\/span>to feature films VIVA, THE MAN WHO INVENTED CHRISTMAS and MAUDIE for which he won the CSA award for best editing in 2018.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Christopher Donaldson, CCE<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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Christopher Donaldson’s work as an editor spans an extensive variety of dramatic and documentary features and television. His credits include THE HANDMAID’s TALE for Hulu, AMERICAN GODS for Starz, PENNY DREADFUL for Showtime\/SkyAtlantic, Atom Egoyan’s REMEMBER, Sarah Polley\u2019s TAKE THIS WALTZ, THE KIDS IN THE HALL: DEATH COMES TO TOWN for CBC, and SLINGS & ARROWS for TMN\/Showcase\/Sundance Channel.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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This episode was generously sponsored by Adobe<\/p>

\"Adobe<\/p>

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Listen Here<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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