To open the new season, we are privileged to welcome a seasoned editor: Dominique Champagne.
Dominique has edited feature films, documentaries, and it is really thanks to her work in TV series that she has made a name for herself, notably with SHARP OBJECTS, where she collaborated with Jean-Marc Vallé, but also with Sophie Deraspe, on the series DARK SOUL (BÊTE NOIRE) and MOTEL PARADIS. Our host, Catherine Legault, invites you to discover the behind-the-scenes of Dominique’s career, and maybe she’ll even share some editing tips with us.
This episode dedicated to Elric Robichon's career.
With more than twenty years of experience, Elric Robichon is known as a “jack of all trades” of editing. He has worked on documentaries, feature films, shorts, commercials, trailers, and even IMAX film editing. Dive into this exciting career, guided by our dear Myriam Poirier, CCE.
This episode was recorded at the Studio MELS, in Montreal
With the beautiful days coming, we are back with our podcast. Our first episode of the year is dedicated to Mathieu Bouchard-Malo. For over 20 years, Mathieu has navigated gracefully and elegantly between fiction and documentary. Myriam Poirier, CCE guides us through his journey, and his unique way of working in the editing room.
And the Volunteer Recognition Award 2022 Goes To...
The CCE wouldn’t be able to operate without the dedication of our many volunteers. From our committee members to our podcast content teams, to our awards juries, and even those who have taken the time to provide your input at town hall meetings, we couldn’t keep the organization going without you.
From time to time, the CCE likes to recognize volunteers who have made outsized contributions to the organization, and this year we presented the Volunteer Recognition Award to someone who definitely deserves it.
Majda Drinnan has been a stalwart member of the CCE Awards committee for 11 years, as well as a jury head for the last 8 years (and a jury member before that). She manages all the trophies and certificates that are handed out at each ceremony.
In addition, she uses her glassmaking skills to create the CCE special awards each year. The trophies that we give out for the Lifetime and Career achievement awards are hand-made by Majda in her glass studio – they are each one-of-a-kind original works of art.
Thanks Majda for your continued dedication to the CCE!
In the photo series below, Majda demonstrates how the Special Awards are handmade in her glass studio.
How They're Made:
Every award starts with a sheet of clear glass that’s cut into two circles. The two layers are then fused together to create a solid circle with rounded edges.
When the disc comes out of the kiln, it’s cleaned and placed on top of the CCE logo. The red paint is a mix of very fine red glass powder, water and aloe gel. After the paint is applied, it’s re-fired in the kiln.
After the glass paint has been applied to the glass, it’s put on a light table to check for holes. Then it goes back in the kiln to be fired. This process is repeated two to three times – paint, fire, paint, fire – until a nice solid colour is achieved with no holes.
The middle picture below shows the result after a second coat has been fired. You can see I’ve re-applied the glass paint over top of the two Cs, and the lighter coloured E still needs the second coat.
The finished award is then taken to get a wooden base put on it and engraved.
Out of the kiln and ready to drop off to the wood artist to engrave and create the bases.
A conversation with Editors Across Canada. Join us on November 2nd as we invite editors from across Canada to talk about their process and how it can be different (or similar) based on where they live. Our guests will represent different backgrounds, lines of works and genres in the editing world.
Guests include Annie Ilkow, CCE (GHOSTS) from Quebec, Jeremy Harty, CCE (TRAILER PARK BOYS) from Nova Scotia, Lisa Binkley, CCE (ZOMBIES 3) from British Columbia, Roderick Deogrades, CCE (CHAPELWAITE) from Ontario and Sarah Taylor (THE LAST BARON) from Alberta.
Annie Ilkow is a Montreal-based editor whose recent work includes Ghosts (CBS, single-camera comedy), TRANSPLANT (2 seasons, for NBC/CTV), and BLOOD & TREASURE (2 seasons, CBS action-adventure). She also edited the critically-acclaimed drama 19-2, the seminal DURHAM COUNTY. A graduate of the film program at Concordia University, she earned her MFA in Cinema at the University of East Anglia, UK.
Born in BC, Raised in NS, calls Halifax home since 1998. Met Mike Clattenburg and edited his low budget feature TRAILER PARK BOYS in 1999. Since then has been doing anything TRAILER PARK BOYS related. Started editing things with Cory Bowles whenever our schedules allowed. Married with three kids and owns and operates Digiboyz Inc. (Post Production) since 2001.
Award winning film and television editor Lisa Binkley began her career in post-production after having studied theatre and film production at U.B.C. She graduated from the Media Resources Program at Capilano University. Since then she has worked on numerous feature films, MOWs and television series.
Her work was recognized when she received a Gemini Award (CSA) for her editing of the mini-series, HUMAN CARGO. This Canadian/South African co-production was directed by Brad Turner (HOMELAND & 24) and it received 17 Gemini Nominations and also won a Peabody Award.
Her work on MGM’s critically acclaimed science fiction series, THE OUTER LIMITS and Showtime’s, THE L WORD (Written and produced by by Ilene Chaiken) has given Lisa the opportunity to work with such directors as Marlee Gorris (Academy Award Winner – ANTONIA’S LINE), Moises Kaufman (THE LARAMIE PROJECT), Helen Shaver (VIKINGS), Lynne Stopkewich (KISSED), and Kimberley Peirce (BOYS DON’T CRY).
She is currently working on ZOMBIES 3 for Disney+, directed by Paul Hoen.
Lisa is a full member of IATSE 891, ACFC West and is a voting member of the Academy of Television Arts & Sciences. In 2008, she was inducted as a full member into the Canadian Cinema Editors (CCE) honourary society.
Roderick is an award-winning Picture and Sound Editor who has worked in the film industry for over twenty years. His extensive knowledge of both sides of the post equation has proven invaluable. His experience in feature films, TV series, shorts and documentaries has established him as one of the industry’s most sought-after collaborators. On the picture side, he is known for his work on STILL MINE (2012), VICTORIA DAY (2009) and ONE WEEK (2008). For television, he has edited THE EXPANSE (Season 3 to 6), KILLJOYS (Season 4 & 5), and Chapelwaite (2021). He picture edited acclaimed documentaries such as 100 FILMS & A FUNERAL (2007), THE GHOSTS IN OUR MACHINE (2013), DAVID & ME (2014) and SILAS (2017). His sound editing work includes SPLICE (2009), PASSCHENDAELE (2008) and SILENT HILL (2006). He is currently picture editing the series BILLY THE KID.
Sarah Taylor is an award-winning editor with over eighteen years of experience. She has a passion for storytelling and has cut a wide range of documentaries, corporate videos, television programs, and full length feature films. Her work has been seen in festivals around the world including Sundance. She is a member of the Directors Guild of Canada (DGC) and is the host of the CCE podcast The Editor’s Cut.
Episode 009: Meet Sophie Leblond and Stéphane Lafleur
In this new episode, and must we say, the new season of our beloved podcast, we meet an amazing duo.
On one side, we have the experienced editor Sophie Leblond, and on the other side Stéphane Lafleur, director or editor by turns. And when Stéphane Lafleur puts on his director’s hat, he always calls upon the services of his faithful ally. We will try to unravel the mystery of this long and fruitful collaboration.
This thoughtful film seamlessly weaves together archival footage, audio recordings, talking heads & artistic interpretations to tell the story of Billy Tipton, a prominent jazz musician of the 1940s & 50’s and trans culture icon.
This event will be moderated by accomplished editor Catherine Legault (REBELS ON POINTE).
Return to us at 7pm EDT in a Virtual Lounge for a post event catch up, discussion and networking!
A link to watch the film will be sent out a couple of days before the event – stay tuned. Watch the trailer here.
Proceeds from this event will be donated to The 519, donations can be made when you register.
Make sure to register as we will email the ZOOM login details the day of the event.
The CCE does not wish for the cost to be a barrier to attending. For a reduced price ticket please contact firstname.lastname@example.org.
Aisling “Ash” Chin-Yee
EDITOR. DIRECTOR. WRITER.
Aisling Chin-Yee is an award-winning filmmaker based in Montreal, Canada, and Los Angeles, California. Aisling was named one of Canada’s Rising Film Stars by Now Magazine 2019. Her feature film directorial debut, THE REST OF US, starring Heather Graham (BOOGIE NIGHTS, THE HANGOVER), Sophie Nélisse (THE BOOK THEIF), and Jodi Balfour (THE CROWN) premiered at the Toronto International Film Festival in 2019 and has released widely around the world.
Her latest work that she co-wrote with Amos Mac, and co-directed with Chase Joynt, No Ordinary Man, world premiered at TIFF 2020, then onto AFI and DOCNYC amongst many others, was awarded Best Canadian Feature Film at Inside Out LGBTQ Film Festival, New Visions Award at the Rencontres Internationales du Documentaire de Montréal (RIDM), and the award for best Portrait Documentary at the Cleveland International Film Festival. The documentary was also one of TIFF Top Ten films of 2020.
As a producer for over a decade, Aisling has been lauded for her fresh and unapologetic. Aisling produced the award winning feature film, RHYMES FOR YOUNG GHOULS, which was a TIFF Top 10 film and won Best Director at the Vancouver International Film Festival, as well as the award-winning feature documentary, LAST WOMAN STANDING, that same year. 2014 marked her year as writer and director with the short film, SOUND ASLEEP, which premiered at Lucerne International Film Festival. In 2015, she directed the multi-award-winning documentary, SYNESTHESIA, which won Best Short Documentary at the International Crossroads Film Festival. She produced the gritty urban drama, THE SAVER, which was released in Spring 2016, the political documentary, INSIDE THESE WALLS, and the television series Lost Generation that same year.
Alongside filmmaking, Aisling is an outspoken advocate for equality and diverse representation on and off screen. In 2016, she co-founded the #AfterMeToo movement, which includes a fund, roundtable series, and report that brings to light the issue of sexual misconduct in the entertainment industry. In 2018 she was selected in the inaugural cohort of professionals in the 50 Women Can Change the World in Media and Entertainment in Hollywood.
Chase Joynt is a director and writer whose films have won jury and audience awards internationally. With Aisling Chin-Yee, Chase co-directed NO ORDINARY MAN, a feature-length documentary about jazz musician Billy Tipton, which was presented at Cannes Docs 2020 as part of the Canadian Showcase of Docs-in-Progress.
Since premiering at the Toronto International Film Festival in 2020, NO ORDINARY MAN has been hailed by Indiewire as “the future of trans cinema” and won 5 awards on the international festival circuit, including being named to TIFF Canada’s Top Ten. His latest short film, FRAMING AGNES, premiered at the Tribeca Film Festival and is being developed into a feature film with support from Telefilm Canada’s Talent to Watch program. Joynt’s first book YOU ONLY LIVE TWICE (co-authored with Mike Hoolboom) was a Lambda Literary Award Finalist and named one of the best books of the year by The Globe and Mail and CBC. Most recently, Chase directed an episode of TWO SENTENCE HORROR STORIES for the CW, which is now streaming on Netflix.
Catherine Legault is an award-winning film editor and filmmaker. She navigates between documentary, animation and fiction, and her work is appreciated for its fluidity and structural sophistication layering different levels of meaning throughout.
She graduated from Film Production at Concordia University’s Mel Hoppenheim School of Cinema. Over the past 17 years, she has worked on several award-winning films that have screened internationally in theatres, festivals, and on television. In 2017, she received an Iris award at the Gala Québec Cinéma for Best Documentary Editing. She was nominated again in 2019. She was also awarded two Gemeaux for her editing work. Her collaborations have included PilgrIMAGE, by Peter Wintonick and Mira Burt-Wintonick, MORT SUBITE D’UN HOMME-THÉ TRE, by Jean-Claude Coulbois, FAMILY DEMOLITION by Patrick Damien, REBELS ON POINTE, by Bobbi Jo Hart, MY MOTHER’S LETTERS, by Serge Giguère, and most recently, FANNY: THE RIGHT TO ROCK, by Bobbi Jo Hart. Her first feature documentary as a director, SISTERS: DREAM & VARIATIONS, was awarded at The IndieFEST Film Awards in five categories and is in nomination for Best Original Music at the Gala Québec Cinéma.
Join us on June 5th for an intimate conversation with expert editor Sophie Farkas Bolla (BEANS, ROADS IN FEBRUARY) and moderator Jessie Anthony (writer/director of BROTHER, I CRY) as they discuss the ins and outs of editing the breakout film BEANS.
The following bios are only written in the presenting language.
Writer/Director/Producer Jessie Anthony is a proud Haudenosaunee woman from the Onondaga Nation, Beaver clan, born and raised on the Six Nations of the Grand River Territory in Ontario Canada. Jessie is a graduate of the Indigenous Independent Filmmaking Program and Bachelor of Motion Picture Arts Degree from Capilano University. Jessie is a Telefilm Talent to Watch winner for her first feature film titled “Brother, I Cry” which won the 2020 BC Emerging Filmmakers Award at the Vancouver International Film Festival and picked up the Audience Choice Award in the 2020 imagiNative Film Festival. She is currently in post-production with the series QUERENCIA which won the imagineNATIVE Pitch Competition, gaining a broadcast deal with APTN/The Bell Fund.
Jessie has produced shorts funded by Telus Optik and BravoFact as well as many music videos. She was the first Assistant Director on The Edge of the Knife, co-directed by Helen Haig-Brown and Haida Artist, Gwaai Edenshaw. Jessie was a finalist at the MPPIA short film award competition, where she received an honourable mention. She directed the documentary Through My Needle, which follows a Mohawk designer and her family; exploring culture and clan through the beading and design of indigenous regalia. Jessie worked on the Girlfriends’ Guide to Divorce (NBC Universal), River of Silence (Telefilm), Going For Broke (Telus/Red Castle Films), Man in the High Castle (Amazon) and La Quinceanera (Lucha Gore -Time Warner) and many more. When Jessie isn’t working within film you can find her on her Facebook live feeds helping indigenous communities with healing and spiritual guidance.
Filmmaker and editor, Sophie Farkas Bolla was born in Montréal and started being involved in both visual and performing arts at a very young age. She attended Concordia University in Film Production and graduated in 2006. Soon after, she began working as a film editor while continuing to develop her own films. In 2009, she directed CHRONICLES BY THE OTHER, which enjoyed a good festival run. In 2012, she completed her second short entitled, ISTVAN AND THE FUR TROUT, a cinematic tale about growing up and disillusionment. WHEN MONSTERS WERE REAL (2015) is her third film and explores our fears from childhood. She is also writing her first features, NAGYPAPA, a dramatic comedy evolving in a charming, yet particular family and JULES AU PAYS D’ASHA a fable set in 1940’s Québec where imagination and reality collide. This film is in pre-production and will be shot this summer.
When Sophie is not working on her own projects, she is also an editor and in 2018 she was nominated for an Iris awards for best documentary editing for P.S. JERUSALEM by Danae Elon (official selection TIFF and Berlin). Among the many fiction and documentary films that Sophie has edited, there is the award-winning ANTOINE (2009) by Laura Bari (Iris nomination), ANGRY INUK (2016) by Alethea Arnaquq-Baril (Audience award at HotDocs), MY DAUGHTER IS NOT FOR SALE (2017) by Anaïs Barbeau-Lavalette, ROADS IN FEBRUARY (2018) by Katherine Jerkovic (Best Canadian First Film Award, TIFF 2018) and most recently BEANS (2020) by Tracey Deer (TIFF, Berlinale) and THE GIG IS UP! (2021) by Shannon Walsh. Finally, Sophie was also a Filmmaker-Trainer for Wapikoni Mobile and accompanied many young people from Tobique First Nation in their creative journey, including Oqim Nicholas with his film AMONG THE FOREST (2018) (Award for best pan-Canadian student film at the FNC).