Stephen Philipson CCE is an award-winning editor and proud member of the CCE since the very start. His credits include high profile TV series such as American Gods (Starz), The Bold Type (Freeform), Anne with an E (CBC/Netflix), Hannibal (NBC), and Orphan Black (CTV/BBC America). He also cut Canadian film favourites such as The Wild Hunt (by Alexandre Franchi), voted Best Canadian First Feature and one of Canada’s Top Ten by the Toronto International Film Festival, and Grown Up Movie Star (by Adriana Maggs), a prize-winner at Sundance.
Never one to turn down an adventure, he once traveled to Sri Lanka to edit an epic Action/Romance about the Sri Lankan civil war (in Tamil and Singhalese) for a director who contacted him randomly over the internet. A graduate of the Canadian Film Centre and Emily Carr University of Art and Design, Stephen’s big break came on the 2009 documentary Prom Night in Mississippi (starring Academy Award winner Morgan Freeman), which premiered at Sundance, broadcast on HBO, and screened at The White House. Stephen is honoured to serve as CCE President and help the CCE continue its excellent work advocating for editors across Canada.
Jane is a Toronto-based film & TV editor. Her narrative film work includes comedy, horror, drama, and science fiction in both short and feature formats and has been featured at film festivals around the world. Her recent work includes the feature film “The Cuban,” starring Louis Gossett Jr., and the sci-fi drama “Rememory” (Peter Dinklage), which premiered at the Sundance Film Festival in 2017 and which was nominated for a CCE award for Best Editing in a Feature Film.
In television, her work includes the Emmy and BAFTA-winning PBS children’s series “Odd Squad”, as well as projects for Canadian, US, and international television networks and streaming services including Hulu, Amazon, PBS, BBC, CBC, TV5 (France), NHK (Japan), and others. Through her company Fast Hat Films, Jane provides development, editorial, and post-production consultation services for both narrative and documentary projects. When not firmly planted in front of her computer or television, she can be found riding her bike on circuitous routes through city streets, or taking naps with her labradoodle, Emmette.
Pauline Decroix is a Toronto-based picture editor. Originally from France, her editing career began in Paris in 2000, and she has been working in Canada since 2009. After many years editing various genres, Pauline shifted focus to scripted storytelling in 2016. She is fortunate enough to be a graduate of the prestigious Canadian Film Centre, as a member of the Cineplex Entertainment Film Program Editors’ Lab. In 2020, she received a Canadian Screen Award for her work on the documentary : On The Line, as well as a CCE Award for Best Picture Editing in the short film : Ma Dame au Camélia. Pauline is honoured to be on the CCE Board for a second term and is very happy to serve the editing community.
Amanda started out as an on-set PA for web-series, and a few American productions, working her way from being an Office PA and Post PA on shows such as Kickass 2 and Vikings, until she joined the fantastic post team at Degrassi as a Trainee Assistant Editor. She worked her way up there to First Assistant Editor, and has since gone on to work on shows like Aftermath, Private Eyes and she also spent 2 years working at ACTRA as an Associate Business Rep. She’s worked in almost every aspect of film and television, but editing has remained her “main squeeze”. Over the years, she’s worked on numerous CCE events as a volunteer and assisting with organisation. She aspire to become an editor and is finding the move to the Atlantic provinces to have been a breath of fresh air. She has met and continue to meet some amazing colleagues out there, and looks forward to seeing how things develop in the post-‘Rona landscape.
Jennifer is passionate about the Canadian film industry. Through her company, AT SHUTTER SPEED, she’s edited content for award shows, short films, web series and documentary projects and finds herself totally immersed with national creators in Canada. Some of her favourite projects have allowed her to work with Emmy award-winning directors, CSA winning Editors, and travel across Canada to work with top industry professionals creating relevant and timely content.
Jennifer has been in the media industry for eight years working as a film editor and assistant film editor. Credits include editor of web series “Sofa Queens,” assistant editor on feature length film A Kandahar Away (premiere at Hot Docs), and assistant editor on Sled Dogs (premiered at Whistler Film Festival).
When she isn’t in her editing suite, Jennifer can be found running outside with her rescue doggo, Nisha, or curled up with a mug of tea and a thick book.
Trevor Mirosh is an award winning filmmaker and a seasoned I.A.S.T.E motion picture editor who has vast editing experience in both feature films and television. Trevor shapes his editing style through genre, action and drama films such as The Ravine, Netflix’s Alien Warfare, Pascal Laugier’s Incident in a Ghostland, Absolution, True Justice and Pain Killer Jane and the ode to the George A. Romero 1985 feature favorite Day of the Dead TV series. When Trevor isn’t finding the magic in film footage from other film projects, he’s filming his own. Trevor has produced, written and directed five short films. The Arrangement, Mr. Sumbody, The Freeze (winner for best short horror film 2018), his 1950’s zombie film LadyZ and his latest award winning dark comedy, horror short film Exhibit man. Among his many career highlights Trevor has worked with editor Dede Allen (Breakfast Club, Dog Day Afternoon, Bonnie and Clyde).
Sarah Taylor is 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.
Rick Bartram is a Toronto-based film editor. He is passionate about making films that challenge, inform and entertain audiences. Originally from Nova Scotia, his need to tell stories led him to Toronto, where he attained a B.F.A in Film Production from Ryerson University. His debut as an editor, on the short film “WORK”, premiered at the Hot Docs Canadian International Film Festival. He went on to graduate from the Canadian Film Centre’s Editor’s Lab in 2019. So far, his work with short and feature-length films has garnered awards and positive recognition from festivals around the world. He’s proud to serve CCE as the Ontario Regional Chair.
Isabelle Malenfant has a passion for telling dramatic stories, but an interest in seeking projects that challenge her to learn new techniques has expanded her credits to include comedies (Steak, Dans Une Galaxie Près de Chez Vous 2, Fabuleuses), VFX projects (Assassin’s Creed, Watch Dogs), animation (Mune, The Procession). As long-time editor for director Francis Leclerc, she worked on the popular sitcom Les beaux malaises; the series Le Phoenix, Marche à l’ombre, and Mon meilleur ami; and the feature films Pieds nus dans l’aube and L’arracheuse de temps. She also works alongside directors Yves Simoneau, François Jaros, Louise Archambault, Quentin Dupieux, Olivier Asselin, and Mélanie Charbonneau. She was nominated for several Gémeaux, Jutra and CCE Awards. In 2018, she won the CCE Award for Best Editing in a Feature Film for Pieds nus dans l’aube. She loves to be involved on the CCE board, to bring forward the talent of Quebec editors within francophone events and share on the this wonderful creative craft with the rest of the CCE community.
“Kimberlee McTaggart has been working in the Canadian film industry for over 25 years. She has produced and directed, but editing is her first love. She began her career editing documentaries, but is now mainly in the world of drama. Kim has edited several dramatic series such as Lexx, Made in Canada, This Hour has 22 Minutes, Call Me Fitz, Studio Black, Seed, Pure, and Diggstown. She won a Gemini for the Call Me Fitz pilot and was nominated for a Canadian Screen Award for her work on both Call Me Fitz and Seed, as well as the feature film Blackbird.
Kim took a break from editing for a few years to run a production company where she and her business partner produced several documentaries and two documentary series. She also worked as a business affairs consultant for other companies during this time, and executive produced several short dramatic films. She is now back in her favourite chair in the edit suite. Kim serves as editor caucus rep for DGC Atlantic Region Council, and is the outgoing chair of WIFT-AT, having served four years in the position.
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