The Editor's Cut

Today's episode is a panel that took place on June 18th, 2025 in Toronto. It was an in depth conversation with Sonia Godding Togobo and Tom Third. They discussed the documentary A MOTHER APART, a story about Jamaican-American poet and 2SLGBTQ+ activist Staceyann Chin and how she courageously reclaimed the art of mothering. We'll learn more about the edit and how the music added to the story. This event will be moderated by Ricardo Acosta, CCE.

If visual effects are the magic of movies, then the VFX editors are the ones making magic happen in the edit suite. But what does that entail? As the bridge between editorial and VFX artists, how do VFX editors support the storytelling process and what do they do? Where did they come from and how has the position evolved? VFX editors Gary Lam, Warren Mazutinec and Bob Dewald answer these questions and more! This panel was moderated by Kelsy Wittman

Post production is all about collaboration! Join a talented panel of editors, sound designers, and composers as they reveal the behind-the-scenes magic that brings films to life. From the precision of sound design to the emotion of the score, learn how every element comes together to create unforgettable cinematic experiences. Hear from editors Charlene Rule and Hans Olsen, composer John McMillan and sound designer Johnny Blerot and see how teamwork transforms great ideas into compelling stories on the screen! This panel was moderated by Sarah Taylor, CCE Panelists: Charlene Rule - Editor Charlene Rule has edited a diverse portfolio spanning museum installations, unscripted shows, music videos, and award-winning documentaries. Her first documentary, FRAMES premiered at Tribeca and also showed at the Museum of Modern Art, New York. Recent work includes FOUR STRINGS GOOD, the documentary commemorating the British sessions bassist Mo Foster, which has just premiered at the DocNRoll festival in London. She has also contributed to notable projects like THE ALZHEIMER'S PROJECT, SAME SEX AMERICA, and LEVI: BECOMING HIMSELF. Charlene's work has appeared on networks including A&E, AMI, CBC, Discovery+, FoxSports1, HBO, Max, Showtime, Sundance Channel, and VICE. Hans Olsen - Editor Hans Olson is an editor with a passion for observational storytelling. He has worked on three films directed by Tasha Hubbard – SINGING BACK THE BUFFALO, NÎPAWISTAMÂSOWIN: WE WILL STAND UP and BIRTH OF A FAMILY. His documentary editing credits also include SIKSIKAKOWAN: THE BLACKFOOT MAN, ARAB WOMEN SAY WHAT?! and KÍMMAPIIYIPITSSINI: THE MEANING OF EMPATHY. Hans studied screenwriting at Langara College and is an alumnus of the Canadian Film Centre (Directors' Lab) and Berlinale Talents. He has volunteered with the Nordlys Film & Arts Festival since its inception in 2010. John McMillan - Composer John McMillan is an award-winning composer, producer, and educator. He is a Ph.D. candidate at the University of Westminster in London, UK, and is currently serving as Head of Songwriting with the Department of Music at MacEwan University in Edmonton. From an early age, John has been interested in the art of storytelling through film. This fascination, coupled with a love of music composition, songwriting, music technology and recording, has led to his career in music for visual media. Select screen credits include SINGING BACK THE BUFFALO, CRACKED: THE PERPLEXING WORLD OF EGG DONATION, THE GOOD VIRUS, WOCHIIGII LO: END OF THE PEACE, BLIND AMBITION: THE WOP MAY STORY, IRONMAN III and ASSASSIN'S CREED BLACK FLAG. John is most passionate about his musical contributions to the Canadian documentary film industry. Johnny Blerot - Sound Designer Johnny began his sound recording education at the age of 16 and has been working with audio professionally for more than 35 years. With a diploma in Music and Recording Arts from MacEwan University, he is both a musician and audio engineer, with the unique ability to receive the world through sound. The recipient of thirteen Alberta Motion Picture Industry Awards, two Canadian Screen Award Nominations, his position as a premiere audio authority is well established. There is no project Johnny is not equipped to tackle. He has a strong understanding of the technical and creative elements involved in audio production, and he has the skill to balance both. Sarah Taylor, CCE (Moderator) A multi-award-winning editor with over twenty years of experience, Sarah has helped shape countless narratives that have been seen around the world. She has cut a wide range of documentaries, television programs, shorts, and feature films which have been screened at festivals including Tribeca, TIFF, and Sundance, and broadcast on networks like CBC, BBC, PBS, APTN, and AMI. Sarah's most recent work includes the feature length documentary The Lebanese Burger Mafia which premiered at HOT DOCS in 2023 and the feature film Hey Viktor! which premiered at Tribeca in 2023. Sarah has seamlessly transitioned into the world of podcasting and also hosts and edits interview-based shows such as BRAAAINS and THE EDITOR'S CUT, adding another dimension to her multifaceted storytelling expertise.

Today's episode is a conversation that took place in Toronto during EditCon 2025 with Peter Denes and Steve Taylor, CCE, as they discuss their editing of the opus documentary THE TRAGICALLY HIP: NO DRESS REHEARSAL. This DGC Award-winning, four-part series tells the story of a bunch of scrappy kids from Kingston, Ontario, who went on to make music history. Denes and Taylor will reflect on the mammoth task of shaping 40 years of music and memories into a rock and roll story that defined Canada to Canadians. Moderated by Nick Hector, CCE, BFE.

Join us for a conversation led by Pauline Decroix with assistants from BEACON 23, HOME SWEET ROME, PUSH and MOONSHINE. They discuss the assistant journey, from working with editors on projects to the differences between remote and office workflows, and navigating day-to-day operations in between the edit suites.

In today's episode Sarah Taylor, CCE talks with Sandra Adair, ACE, the celebrated editor behind some of the most enduring and emotionally resonant films of our time. Best known for her long-standing collaboration with director Richard Linklater on films like BOYHOOD, BEFORE MIDNIGHT, SCHOOL OF ROCK, and DAZED AND CONFUSED, Adair brings a rare blend of instinct, rhythm, and narrative sensitivity to every frame. About Sandra: Academy Award nominee, Sandra Adair, ACE, has enjoyed an ongoing artistic collaboration with director Richard Linklater, having edited 24 films for him over the past 33 years. Some of their collaborative work includes the cult classic DAZED AND CONFUSED, BEFORE SUNRISE, BEFORE SUNSET AND BEFORE MIDNIGHT, and last year's HIT MAN. Their latest collaboration is this year's BLUE MOON. In 2014, Linklater's BOYHOOD earned 6 Academy Award nominations, including Best Editing for Sandra. Sandra is a member of the Academy of Motion Picture Arts and Sciences, American Cinema Editors, and The Motion Picture Editor's Guild.

We want to feature the editors of four Canadian films that are not only critically acclaimed in this year's festival circles but also reflect the great community spirit behind their creation. Whether it's the utterly independent visions of MATT AND MARA and UNIVERSAL LANGUAGE or the deeply necessary stories of the Indigenous community in ABERDEEN and THE STAND, this year's Canadian films, in all their shapes and forms, are not short of boldness and style. Sara Bulloch is an editor and filmmaker in Winnipeg, Canada. She's edited films and series like ABERDEEN (premiered at TIFF2024), ALTER BOYS, SEEKING FIRE, ANCIENT BODIES, and many short films including I WOULD LIKE TO THANK MY BODY which won Audience Choice Award at Gimli Film Fest 2023. Short films she's written/directed have screened with Toronto Jewish Film Fest, the8fest, Gimli Film Fest, and more. Her films often explore mental health, identity, and relationships. Her short film, HOT DOG GUY won a People's Choice Award at Vox Popular Media Arts Fest 2022. She's also a motion graphics artist and community organizer. From 2019-2023 she organized OurToba Film Network & Fest, a community group for women, non-binary and gender diverse Manitobans in film. Xi Feng is a film editor based in Montreal. Having lived in China, Canada, and France, she has cultivated a unique blend of cultural and artistic sensitivity. Feng has worked as an editor on award winning films including CETTE MAISON, CAITI BLUES and most recently UNIVERSAL LANGUAGE, which won the inaugural Audience Award at the Directors' Fortnight at Cannes and is Canada's 2025 submission for the Oscars. Her filmography includes films premiered at major festivals such as Berlinale, Cannes, Sundance, TIFF, Vision du Réel, HotDocs, etc. Nathalie Massaroni is a Winnipeg-based editor and post production supervisor of more than 400 hours of television. Since graduating from the University of Winnipeg's film program, she has edited features and series including WINTERTIDE, ALTER BOYS, SEEKING FIRE, and ABERDEEN (which premiered at TIFF 2024). Nathalie has also edited other short form series and films such as D DOT H, TAILOR MADE, and I HURT MYSELF. If she's not working on a computer, you can find Nathalie at the dance studio or sipping coffee with a cat on her lap. Ajla Odobasic is a Bosnian-Canadian film editor based in Toronto. Her credits include MATT AND MARA, THE WHITE FORTRESS, the TFCA Best Canadian Film Award-winning ANNE AT 13000 FT, A.W: A PORTRAIT OF APICHATPONG WEERASETHAKUL, and the CSA-nominated HELLO DESTROYER. Her work has screened at several festivals and platforms including Locarno, TIFF, the Berlinale, MoMA, CBC Gem, and the Criterion Channel. Ajla teaches editing in Humber College's Film and Television program. Sarah Hedar is a Vancouver-based editor and story editor. Her patience and sense of humour keeps the challenges that so often bog down the creative process at bay. Sarah's award-winning work on provocative and original films spans both documentary and narrative projects, from features to shorts. Her keen eye for visual storytelling reflects her belief in the power of community, and the importance of continuously reassessing the status quo while building a world filled with empathy and hope for a brighter future. Her work has screened at festivals across the globe, but most notably, Sundance, TIFF, and VIFF. Kelly Boutsalis is the International Programmer, Canada for the Toronto International Film Festival. She's also a freelance writer, and has written about film and television for the New York Times, NOW Magazine, Elle Canada, Flare, POV Magazine and more. She's also written about lifestyle, design, and culture for publications including Vogue, Toronto Star, Chatelaine, VICE and Toronto Life. Originally from the Six Nations reserve, she lives in Toronto. She is on the board of imagineNATIVE and a member of the Toronto Film Critics Association.

In today's episode Sarah Taylor, CCE chats with Austin Reedy the editor of the documentary ZURAWSKI V TEXAS. They discuss the intricate process of editing a film that intertwines legal narratives with deeply personal stories. Austin reflects on the importance of empathy, collaboration with directors, and the emotional weight of the subject matter. In ZURAWSKI V TEXAS women denied abortions under Texas' ambiguous and unforgiving abortion bans band together with a fearless attorney to sue Texas. While battling in court against the state and its immovable Attorney General, the extent of their traumatic experiences is revealed as they wrestle to regain their reproductive futures and set a precedent for millions of other women and families. ZURAWSKI V TEXAS reveals the dire impact of losing access to healthcare—and the extraordinary efforts of the women and men fighting on the frontline to regain those rights. The film is available for rent on Apple TV and Amazon Prime

Today's episode was a Master Series that took place on October 9th, 2024 In Conversation with Dean Evans. In this conversation, host Sarah Taylor, CCE talks with film and tv editor Dean Evans. Dean shares his journey from a small-town kid in Saskatchewan to becoming a successful editor. He discusses the importance of the MASTER THE WORKFLOW workflow in editing, his experiences working on the film DARK MATCH, and the collaborative nature of the editing process. They also discuss the fast-paced nature of web series DEPARTMENT OF PARANORMAL AFFAIRS, the significance of keeping up with technology in editing, and Dean reflects on a fulfilling career in film, emphasizing the value of relationships in the industry.

Today's episode is a conversation with Autumn Dea. She shares her journey into editing, her early interest in storytelling, the transition from advertising to long-form editing, and her experiences working on the film BLEEDING LOVE which was directed by Emma Westenberg starring Ewan McGregor and Clara McGregor. We discuss the emotional aspects of editing, the importance of collaboration with directors, and the challenges faced in the editing process. Autumn Dea is a film, television, and commercial editor from Los Angeles, CA. Originally hailing from the Philadelphia, PA area, Dea graduated from Virginia Commonwealth University's School of the Arts, with a Bachelor of Arts degree in film and a double minor in media studies and psychology. Dea's unique editorial background has allowed her to work with various high-profile artists and actors, including Beyonce, Lizzo, Ewan McGregor, and Jay Duplass. Her most recent feature film BLEEDING LOVE, directed by Emma Westenberg and starring Ewan McGregor and Clara McGregor, world premiered at SXSW 2023. The film has already garnered industry praise and was chosen as one of the must-see films of the festival by Deadline's SXSW 2023 Hotlist. Her most recent documentary feature film, LOVE, LIZZO (HBO Max), directed by Doug Pray and starring Grammy Award-winning musician and vocalist Lizzo, premiered on HBO Max in November 2022. Previously, her feature film, SHITHOUSE (IFC), directed by Cooper Raiff, won the Grand Jury Award for Best Narrative Feature at SXSW 2020 and was named Vanity Fair's 10 Best Movies of 2020. Her work in television has also received accolades including an Emmy award for THE FUTURE OF AMERICA'S PAST (PBS), and inclusion in the Tribeca Film Festival for the documentary feature THE DEATH OF MY TWO FATHERS (PBS), directed by Sol Guy.

Today's episode is a panel that took place in Toronto during EditCon 2024. Editor Mike Munn, CCE take us through the experience of editing the multi-award-winning documentary TO KILL A TIGER. The film follows the local story of an Indian father courageously fighting for justice for his raped daughter, delving into the dynamics of a family, a small village, and the national legal system, while also addressing the broader themes of rape culture, victim blaming, and the silencing of women. Moderated by editor Nick Hector, CCE.

Comedy demands a mastery of pacing to make a story flow but most importantly make the audience laugh. Whether it's solving mysteries in the coming-of-age comedy horror WEDNESDAY, the misfortunes of a dysfunctional family in MOONSHINE, the attempt to save a mediocre hockey team in SHORESY, or building a business of fake IDs with very real consequences in FAKES. This year we invited the 2023 CCE nominee editors of these spectacular shows to tell us about the craft of editing in the comedic genre. Maybe they'll tell us a joke or two.

Greg Ng, CCE and Graham Fortin discuss their collaborative journey in editing the film LONGLEGS. They share insights into their editing process, the dynamics of co-editing, and the importance of building trust with directors. The conversation delves into the nuances of character development, particularly with Nicolas Cage's performance, and the techniques used to create tension and atmosphere in the film. They also reflect on audience reactions during screenings and the lessons learned for future projects.