Race Results Queen City Yacht Club, Toronto, Canada

For over 25 years, Paul has worked as an online, offline and supervising editor, cutting everything from animatics, 2D/3D animation, and stop-motion. Projects include Freaky Stories, Angela Anaconda, Franny’s Feet, Iggy Arbuckle, Johnny Test, Glenn Martin DDS and Nature Cat. When given the chance to work on it, Paul thought that he would be nuts not to!

Main Features

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, Hannibal, and Orphan Black. He also cut Canadian film favourites such as The Wild Hunt, voted Best Canadian First Feature and one of Canada’s Top Ten by the Toronto International Film Festival, and Grown Up Movie Star, a prize-winner at Sundance. Roslyn’s television projects can be seen on NETFLIX, HBO Canada, ABC, Syfy, Lifetime, Global and the CBC. She has earned CCE and DGC Nominations for her editing in the categories of documentary, TV Movie and Mini-Series. With a background in theatre, Malenfant is an editor with a passion for bringing out an actor’s talents and crafting their best performance.

DAY 2: Panels & Talks

He would go on to work steadily as an editor right up until his death in December 1999. “Kelly” Smith, CCE, was amongst the pioneers of electronic post production and widely known in the Toronto and L.A. His career began at CKNX-TV in Wingham, Ontario in the late 1960’s and flourished until his passing. Also premiering at TIFF was the feature documentary SILAS, executive produced by Leonardo DiCaprio’s Appian Way productions, which Chris came on board to complete. The documentary POPCORN AND MAPLE SYRUP that Chris co-edited for the CBC, won the Special Jury Award at Worldfest.

Isabelle Malenfant, CCE

His latest film, LUBA, won multiple awards at the Canadian Film Fest and earned him a CCE awards nomination. Recently completed are three short films screening at this year’s Available Light Film Festival in Whitehorse. He is currently editing Easy Land, the first feature of Serbian-Canadian director Sanja Zivkovic. Chris has served as vice-president of the CCE and continues to stay involved as part of the Global Opportunities Committee. Helen Haig-Brown (Tsilhqot’in) is an award-winning director and a leading talent in experimental documentary.

TSC Announces New Voices Awards

With over 15 years experience, Argentina-native Andres Landau is an award-winning editor. He was distinguished with the 2018 Canadian Cinema Editors Award for Best Editing in a FeatureDocumentary for Unarmed Verses. In 2011, he oversaw post-production for The National Parks Project, and edited Sirmilik the 2012 Genie Award winning short documentary by director Zacharias Kunuk.

King Street West, Toronto

To qualify for the Telefilm Canada New Voices Award, candidates must have written at least two short films one of which has been produced, and have written one feature length screenplay, TV pilot or series treatment. They must not have previously produced a feature or TV series/pilot, nor received Telefilm Canada Funding. George cut many of Canada’s iconic series and feature films, from Adventures in Rainbow Country, Street Legal, and Cold Squad to Outrageous, The Silent Partner, Isabel, and many others.

Editing Seduced: Inside the NXIVM Cult with Inbal B. Lessner, ACE and Gillian McCarthy

It had women in all key positions, and they took great care in creating an environment for the cult survivors who shared their stories, in which they felt supported before, during and after filming. We will discuss the ins and outs of shaping such a complex and sensitive story and the challenges that Inbal and Gillian came across in the edit suite. She received her BFA honors degree in Theatre from York University, where she studied in the Creative Ensemble Conservatory. She currently works as a freelance director, producer, and story consultant in film, television, and branded content, and is a longstanding board member of BIPOC TV and Film. Jeff Barnaby was born and raised on the rural Mi’gMaq reserve of Listuguj, Quebec.

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As editors our jobs are constantly expanding, with more and more tools at our fingertips it’s important to keep our technical skills as sharp as can be. Editing and co-ordinating with VFX can be daunting at times, but it’s always important to get it right. Editor Christopher Malanchen shares some tips, tricks and best practices that he learned from editing on Vice’s THE DEVIL YOU KNOW (Season 2) and Cooking Channel’s BITCHIN’ KITCHEN and from his tenure as the VFX Editor for BIG LITTLE LIES (Season 2). This panel, hosted by picture editor and sound editor Roderick Deogrades, will focus on the importance of mentorship and the editor/assistant relationship. This interactive discussion will cover topics like the importance of training, benefits of mentorship for both the assistant and the editor, paying it forward and building a network. George Appleby’s life was defined by love, success and adventure, all of which he shared freely with the people he met and worked with.

Award Nominees & Winners

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. The first annual EditCon took place on Saturday February 10th, 2018 at the TIFF Bell Lightbox in Toronto. The event was sold out to 150 guests and included 4 informative, lively and open discussion panels. Join Nahid Islam for an intimate Q&A on the ins and outs of post production fundamentals and answering your questions about the process behind the scenes. The eighth annual Toronto Screenwriting Conference takes place at the Metro Toronto Convention Centre on April 22 and April 23. Each winner receives a pass to the TSC and a meeting with representatives from Telefilm Canada.

Panel #1: Making a difference – Cutting content with an important social message

A multi-disciplined artist, he has won several awards for his artwork, pœtry, short stories, music and films. His work provides a bare-knuckled view of post-colonial Mi’gMaq life, defying stereotypical treatments of First Nations’ narratives by using horror/sci-fi tropes to explore themes of violence, gender, race and Indigenous futurism. He hung around the University of Toronto’s Hart House Theatre, and its then director, Robert Gill, absorbing the world of theatre. But it was the editing suite that eventually took his interest after he landed his first job on the CBC series, The Forest Rangers, in the early 1960s.

PANEL: Thrills & Chills – Editing Dark Genre in Feature Film

Gillian is best known for her work on ORPHAN BLACK, ANNE WITH AN E, and THE EXPANSE. She has won two CSA awards, a DGC award, and has earned eleven award Nominations. Isabelle Malenfant began her career as an assistant editor learning alongside Emmy Award winning director Yves Simoneau, on his films Napoléon, Free Money, and Nuremberg.

• As well, Mike has edited several award-winning documentaries, including Stories We Tell, for director Sarah Polley.
• She was also a Visiting Professor at UNCSA Film School, and a mentor in the Karen Schmeer Diversity in the Edit Room Program.
• She has won two CSA awards, a DGC award, and has earned eleven award Nominations.
• Join the editor behind THE NATURE OF THINGS episode “The Covid Cruise” for a conversation about filmmaking in the Covid era.
• Morsi received a scriptwriting grant for her feature film BOOTLEG, March 2016.

She spent 3 years as the resident editor at the Banff Centre for the Arts and is a graduate of the The Canadian Film Centre. Her credits at Cinepix included Bill Fruet’s Death Weekend, Eddie Matalon’s Blackout, Ivan Reitman’s Meatballs, Larry Kent’s Yesterday and J. The panel will examine the editor’s contribution in creating original, provocative and beautifully made television. Some prizes included a Hard Drive, Copies of Art of the Cut (Steve Hullfish the author was even in attendance to sign the copies!), a copy of Avid Media Composer and subscriptions to various Boris FX programs. EditCon 2019 took place on Saturday February 2, 2019 at the TIFF Bell Lightbox in Toronto.

Panel #2: Frame by Frame – A primer on Animation editing

After editing 13 features and numerous documentaries he began teaching Film Editing at Ryerson University in Toronto from 1994 to 2006, just as the industry was shifting from flatbed editing to digital editing. Ron has worked with directors including, Robert Longo, Daniel Petrie Jr., Sturla Gunnarson, Norman Jewison, and Henry Sellick. He collaborated with David Cronenberg on 19 films winning Genie Awards for Dead Ringers (1989), Crash (1996), eXistenZ (2000) and Eastern Promises (2007) and DGC Awards for A History of Violence (2006), Eastern Promises (2008) and A Dangerous Method (2012). He was nominated for an American Cinema Editors Award for his work on Coraline (2010).

• We’re currently experiencing a watershed moment for increased representation in storytelling.
• Over the years, she has also collaborated with directors François Jaros, Philippe Gagnon, Quentin Dupieux (a.k.a. Mr Oizo), Olivier Asselin and Mélanie Charbonneau.
• The event was sold out to 150 guests and included 4 informative, lively and open discussion panels.
• While studying, she was hired as a second assistant editor to work at Cinepix on their production of Across This Land with Stompin’ Tom Connors.
• Rik’s diversity of talent and pursuit of excellence made him a singular talent and mentor amongst editors.
• Fortunately, he found his calling pushing colourful keyboard buttons in a dark room.

Panel #4: Behind the Cut with Ron Sanders, CCE

Raised on Star Trek, Justin’s original plan was to push flashy buttons on a starship as an actor. Fortunately, he found his calling pushing colourful keyboard buttons in a dark room. His work has been seen ‘round the world in festivals such as Sundance, Berlinale, SXSW, TIFF, and most recently on HBO with the Emmy winning mini-series Big Little Lies. Roslyn’s recent drama series include Haven, Hemlock Grove, Ten Days in the Valley, and Mary Kills People. Roslyn’s passion for editing began in Montreal, where she studied Film and Screenwriting at McGill University.

• Her credits at Cinepix included Bill Fruet’s Death Weekend, Eddie Matalon’s Blackout, Ivan Reitman’s Meatballs, Larry Kent’s Yesterday and J.
• He collaborated with David Cronenberg on 19 films winning Genie Awards for Dead Ringers (1989), Crash (1996), eXistenZ (2000) and Eastern Promises (2007) and DGC Awards for A History of Violence (2006), Eastern Promises (2008) and A Dangerous Method (2012).
• Since 1995, Lisa has been nominated for 18 film awards and has brought home eight, including four DGC Awards, three CCE’s and a Gemini.
• Unarmed Verses and Sgaaway K’uuna (Edge of the Knife) are films that have intertwined themes of social justice into compelling stories, bringing important social messages to the screen in their respective genres of narrative and documentary film.
• Prior work includes award nominated series; 19-2, Bomb Girls, Camelot and the influential Durham County.
• This panel discussion focuses on their careers in indie film, their process in editing these films, getting a festival run, and what lies ahead.
• Helen Haig-Brown (Tsilhqot’in) is an award-winning director and a leading talent in experimental documentary.

Join editor Ryan Morrison (STOWAWAY, ARCTIC) and assistant editor Russell Anderson (MANK) as they explore the challenges with remote editing work- flows and how they have solved them in their recent projects. The skills required of an assistant editor in animation are quite different from those working in live-action. Instead you are building shows, updating episodes and providing necessary materials and inspiration to artists. Animation editor Merissa Tse shares her wisdom and experience of what makes a good assistant editor in the field of animation. From FRINGE to THE NEWSROOM, Michelle’s work shows a range of storytelling techniques.

Panel #1: Documentary Confidential

• That, of course, lasted for a few decades until the big transition to digital in the early 1990s.
• This panel will examine the creative and practical concerns of working down there versus working up here.
• Join us as our panel (Mike Munn CCE, Michèle Hozer CCE & Nick Hector CCE) explores the profound level of authorship editors can have in crafting a documentary.
• After editing 13 features and numerous documentaries he began teaching Film Editing at Ryerson University in Toronto from 1994 to 2006, just as the industry was shifting from flatbed editing to digital editing.
• As long-time editor for critically-acclaimed director Francis Leclerc, she worked on the popular sitcom Les beaux malaises, the dramatic series Marche à l’ombre, and Mon meilleur ami and the poetic short Trotteur, amongst others.
• HEADDRESS is her 3rd documentary short – it will have its world premiere at the 2017 Hot Docs Film Festival.
• He’s cut more than two-dozen feature and one hundred TV documentaries for filmmakers across the globe.

Andrew has sliced through numerous feature films including comedy/horror Bloodsucking Bastards, post-apocalyptic thriller The Day, which premiered as part of TIFF’s popular Midnight Madness program, and the hugely successful Saw VI and Saw 3D. Mike’s work has been recognized formally through award nominations as well as being highlighted in film reviews from around the world. Films he has edited have played at Cannes, Berlin, Venice and Sundance, among other festivals, mgm darknet with 11 features accepted at TIFF. Sarah Polley’s Stories We Tell was shortlisted for the documentary Oscar as well as being voted in a TIFF poll as one of the 10 best Canadian films of all time. Narrative, character & emotion –  how do we as storytellers bring these elements to an audience in a compelling and dramatic way? In documentary filmmaking, there are the added challenges of ethics, honesty, and “truth,” in however we are able to define them for ourselves.

Her work is broad-ranging, from intimate autobiographies to forays into Science Fiction. Anx (The Cave), an adaptation of a Tsilhqot’in story was named to Canada’s Top Ten Shorts by TIFF and was an Official Selection at Sundance Film Festival. My Legacy, her first feature documentary, focuses on the transformation and healing of intergenerational trauma to trust, worth, intimacy and love. Her work has aired on APTN, CBC, Knowledge, NITV (Australia) and has been showcased around the world at film festivals such as Berlinale, Rotterdam and Sundance. Michèle’ short documentary, The Barber of Augusta just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival.

He wrote and directed the acclaimed feature The Uncles (Odeon Films), named one of Canada’s Top Ten by the Cinemateque Ontario. Julio C. Perez, IV lives and works in Los Angeles, editing in both narrative and documentary. He has recently worked with director Sam Levinson on the series EUPHORIA, as well as the upcoming feature MALCOLM AND MARIE.

Bellevue, starring Anna Paquin, is screening on WGN America at the moment another series that Teresa edited and got to co-produce. Prior work includes award nominated series; 19-2, Bomb Girls, Camelot and the influential Durham County. Teresa is very excited to be part of the industry at a time when the boundaries of TV storytelling are being pushed like never before- it truly is the Golden Age.

Collins then edited David Cronenberg’s The Brood, which later became a cult classic. Corman invited him to Hollywood, where he was promoted to co-editor of Von Richthofen and Brown and edited 3 more features for New World Pictures. While in Los Angeles he edited I Escaped from Devil’s Island starring Jim Brown. Mike began his career with the Toronto New Wave, editing features for Bruce McDonald (Roadkill), Srinivas Krishna (Masala and Lulu) and Peter Mettler (Tectonic Plates; Picture of Light).

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. (March 23, 2017 – Toronto, ON) The Toronto Screenwriting Conference (TSC) has announced the recipients of this year’s Telefilm Canada New Voices Award. The emerging screenwriters were selected from over 120 Canada-wide applicants. Ron Wisman, CCE, has been an integral component of the Canadian editing community for over 40 years. Ron has an impressive resume of 89 titles with almost half being Movies of the Week; The Violin, one of the first films that he cut, was nominated for an Academy Award. Alan moved to Toronto in 1975 where he edited The Clown Murders, starring John Candy, and Love at First Sight, starring Dan Aykroyd, which received a Best Editing Award from the newly formed Canadian Film Editors guild in 1977.

Multitalented moderator Sook-Yin Lee sits with Oscar-nominated editor Jinmo Yang, ACE for an in-depth conversation about the craft of Picture Editing. 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’s ROOM 104, EUPHORIA, and most recently AMC’s DISPATCHES FROM ELSEWHERE. 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?

• Editors in doc have such a deep involvement in shaping the films that they can become credited co-directors or co-writers.
• ADAM PERRY – Adam Perry is an award winning director and screenwriter from Charlottetown, Prince Edward Island.
• He is one of the Canadian Cinema Editors’ co-founders and currently sits on the National Board for the Directors Guild of Canada.
• Collaborating with John Woo, Michael Anderson, Ted Kotcheff and Canadian legend Don Shebib to name a few, he has helped shape performances of many Hollywood legends; from Charlton Heston and Vanessa Redgrave to Lloyd Bridges and Christopher Plummer.
• A leica reel and offline editor of many hit shows including Johnny Test,  Busytown Mysteries, Justin Time and Total DramaRama.
• When that film finished she remained at Cinepix working on hundreds of commercials for the films they distributed while finishing her education at night and during summer “holidays”, graduating in Communication Arts, magna cum laude.

We’re currently experiencing a watershed moment for increased representation in storytelling. The editors behind I MAY DESTROY YOU, EUPHORIA, and #BLACKAF join us to discuss their groundbreaking work. The past year has brought our lives no shortage of fear-inducing moments, and yet films that offer us frights continue to be one of our greatest escapes. Action, comedy, drama, romance, horror and thriller – Jinmo Yang, ACE’s outstanding body of work covers almost every genre in filmmaking. His mastery of pacing and tone is often on display as he rides the line between genres, from the action/comedy of LUCK-KEY, to the thriller/comedy PARASITE.

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. She is a member of the Directors Guild of Canada (DGC) and is the host of the CCE podcast The Editor’s Cut. Projects like War Witch, Maelstrom or The Pillars of the Earth have garnered awards and nominations at the Oscars, the Golden Globes, and throughout the world in major film festivals like TIFF, Cannes, or Berlin. He’s worked with some of the finest filmmakers in Quebec, like Denis Villeneuve, Philippe Falardeau, Kim Nguyen, and Louise Archambault. She began her career in unscripted television on iconic and Emmy-winning shows such as TOP CHEF and PROJECT RUNWAY.

As long-time editor for critically-acclaimed director Francis Leclerc, she worked on the popular sitcom Les beaux malaises, the dramatic series Marche à l’ombre, and Mon meilleur ami and the poetic short Trotteur, amongst others. Their latest collaboration, the feature film Pieds nus dans l’aube, is an adaptation of Félix Leclerc’s autobiographical novel of the same name. Over the years, she has also collaborated with directors François Jaros, Philippe Gagnon, Quentin Dupieux (a.k.a. Mr Oizo), Olivier Asselin and Mélanie Charbonneau.

Since moving to Los Angeles, Inbal has edited hundreds of hours of non-scripted network and cable television shows. She was also a Visiting Professor at UNCSA Film School, and a mentor in the Karen Schmeer Diversity in the Edit Room Program. Over the course of her career, Inbal has worked in the cutting rooms of directors such as Davis Guggenheim (Teach), R.J. Cutler (“American Candidate”), Kief Davidson and Daniel Junge (A Lego Brickumentary), Jeremy Simmons (“Transgeneration”), Tracy Droz Tragos (Be Good, Smile Pretty) as well as Natalie Portman’s feature directorial debut (A Tale of Love and Darkness).

In 2018 he wrote and edited TO WENDY WHO KICKED ME WHEN I SAID I LOVE YOU, an off- beat, romantic short film which premiered at the London Film Festival. ADAM PERRY – Adam Perry is an award winning director and screenwriter from Charlottetown, Prince Edward Island. He got his start writing and directing web-series, shorts and over a dozen food-based series with celebrity Chef Michael Smith. Recently, Adam has focused his attention on writing for the big screen and has seen some early success.

Michèle’ short documentary, The Barber of Augusta film just recently won the Dodie Spittal Award at 2017 The Picture This Film Festival. She just completed SponsorLand the feature length doc for TV Ontario on a Syrian refugee family with 11 children resettling in the tiny town of Picton Ontario. Chris Mutton brings over 15 years of film and television experience to the edit suite.