Congratulations to the editors nominated for the Canadian Cinema Editors awards!
I’ve only interviewed one of them, Wendy Hallam Martin, ACE/CCE, who cuts “The Handmaid’s Tale.” There is a link to that interview here and below.
Best Editing in Animation
Isabelle Malenfant, CCE – The Procession
Joycelyn Poon & Brian Karn – The Most Magnificent Thing
Kevin Pavlovic, David Ian Salter, Ellory VanDooyeweert & Emma DuPell – The Addams Family
Lesley Mackay Hunter – Arctic Dogs
Orion McCaw, Gina Pacheco & Michael Hillmer – Carmen Sandiego: The Daisho Caper
Best Editing in Documentary Feature
Carole Larsen – She Walks With Apes
Cathy Gulkin, CCE & Kathryn Lyons – Margaret Atwood: A Word after a Word after a Word is Power
Danny Palmer – Rat Park
Eamonn O’Connor & Daniel Roher – Once Were Brothers: Robbie Robertson and The Band
Nick Hector, CCE – Prey
Best Editing in Documentary Short Form
Clark Masters & Chelsea Bennett – White Noise
Kyle Sanderson – Pugly
Rachel Guergis – This Ink Runs Deep
Robert Swartz – The Impossible Swim
Sonia Godding Togobo – Mr Jane and Finch
Best Editing in Docu-series/Docu-drama/Factual
Cameron Nixdorf – Vacations of the Brave: Tamika &Cleve
Dave McMahon – Hip Hop Evolution: Pass the Mic
Peter Denes – Children of the Snow: The Darkest Winter
Ben Kaplan & Clark Masters – Dark Side of the Ring: The Last of the Von Erichs
Steve Taylor – Hip Hop Evolution: The Dirty South
Best Editing in Family – Series or MOW, Live Action
Daniel Sadler – Northern Rescue: Making Lemonade
Lauren Brandon – Holly Hobbie: A Whole New Holly
Lee-ann Cass – Christmas Chalet
Michelle Szemberg – Northern Rescue: QuĂ© Sera
Sabrina Pitre – Kim Possible
Best Editing in Feature Film
AmĂ©lie Labrèche, Myriam Verreault & Sophie Leblond – Kuessipan
Carina Baccanale & Cedric Coussy – Jouliks
Isabelle Malenfant, CCE – Fabuleuses
VĂ©ronique Barbe, CCE & Aisling Chin-Yee – The Rest of Us
Yvann Thibaudeau – Target Number One
Best Editing in Lifestyle / Competition / Reality/
Andrew Gurney – Blown Away: Dual Intent
Andrew Gurney, Mike Scott & Michael Tersigni, CCE – The Brigade: Race to the Hudson,All or Nothing
Jonathan Dowler, David Yenovkian, Lisa Barley, Olivia Shin & Michael Tersigni, CCE – The Amazing Race Canada: Clamageddon Continues
Michael Tersigni, CCE & Andrew Gurney – The Brigade: Race to the Hudon, Against the Current
Mike Scott – Blown Away: Body Parts
Best Editing in Television Comedy
Aren Hansen – Kims Convenience: Cutie Pie
Christopher Minns – Cavendish: House of Wax
John Nicholls, CCE – Little Dog: Round Eight
Jonathan Eagan – Workin’ Moms: Birth Daze
Matthieu Bouchard & Olivier Binette – Like-Moi: Episode 35
Best Editing in Television Drama
Ana Yavari – The Handmaid’s Tale: Witness
Carina Baccanale – Les Pays d’en haut: #37
Chris Donaldson, CCE – The Handmaid’s Tale: Night
D. Gillian Truster, CCE – Anne with an E: A Strong Effort of the Spirit of Good
Wendy Hallam Martin, CCE – The Handmaid’s Tale: Mayday
Best Editing in Television Movie/Mini-Series
James Ilecic – The College Admissions Scandal
Lara Mazur, CCE – The Knight Before Christmas
Matthew Anas – Cardinal: By The Time You Read This: Sam
Richard Rotter – Damaged
Stephen Roque – Mary Kills People: Wolf, Meet Henhouse
Best Editing in a Short Film
AmĂ©lie Labrèche – Jaeborn by Numbers
Mahi Rahgozar – Wiisgaapte (Bitter Smoke)
Maureen Grant – It’s Nothing
Pauline Decroix – Ma Dame au CamĂ©lia
Yvann Thibaudeau – Delphine
Best Editing in Webseries / Digital Content
Ben Lawrence – Tokens: Episode 3
Colin Waugh – Renewable: Youth for Climate
Micah Rix-Hayes – The Ninth: The Balk
Sam Thomson & Thom Smalley – Save Me Season 2: Birdie’s End
Thom Smalley & Sam Thomson – Save Me Season 2: Animal
To read more interviews in the Art of the Cut series, check out THIS LINK and follow me on Twitter @stevehullfish or on imdb.
The first 50 interviews in the series provided the material for the book, “Art of the Cut: Conversations with Film and TV Editors.” This is a unique book that breaks down interviews with many of the world’s best editors and organizes it into a virtual roundtable discussion centering on the topics editors care about. It is a powerful tool for experienced and aspiring editors alike. Cinemontage and CinemaEditor magazine both gave it rave reviews. No other book provides the breadth of opinion and experience. Combined, the editors featured in the book have edited for over 1,000 years on many of the most iconic, critically acclaimed and biggest box office hits in the history of cinema.
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