Working in the Film and TV Industry

It’s been a minute since I’ve posted here. Not because I haven’t thought about it. But life has been quite exciting and frankly busy. I can’t always talk about the projects I am working on… because you know, NDA’s and contracts. But I am bursting at the seams to share all the things. Trust me.

In the past two years, I’ve had the priviledge to work on four Feature Films and two Amazon Prime TV series.

When I joined the DGC, I vaguely knew I’d be working on some cool projects - but never in my wildness dreams would I have imagined that I’d be here today.

After completing Season 2 of We’re All Gonna Die, I jumped on two feature films, BOY IN THE WOODS and THE LAST SHOW GIRL. Both travelled around the world garnering attention and awards. That was my short foray into HOLY SHIT this is actually happening. I am actually doing this.

From there I was hired to be a second assistant editor on BLADE RUNNER 2099. When I got the call, I’d been looking for work for three months and hit every road block everyone experiences in this industry. I am grateful for Orlee Buium, Cam McLauchlin, Stephen Philipson and Geoff Ashenhurst for helping me get started and connected. It’s easy to look at my first contract and say, “Wow I am so lucky.” And that is 100% true. I am and was lucky. But what I hadn’t appreciated is the five year journey beforehand that I spent growing my network and showing up to events in the hopes that someone might hire me and let me do my thang.

After Blade Runner 2099, I had the absolute privilege to jump on HIDE AND SEEK (Ready or Not, Here I come) - the sequel to the box office success Ready or Not (on Netflix, seriously watch it). I got to work with Jay Prychidny and Nick Montgomery. Both generously shared their wealth of knowledge and I grew exponentially as an assistant editor.

I then jumped onto a feature film with Orlee called THE BETRAYERS. We spent five weeks working together during dailies (production) and making sure the editor’s cut was ready to go with full sound for the first director sit down with David Bezmozgis. Ps the editor’s cut was two hours. The locked picture is much shorter and I am currently working with Alison MacMillan, Shaun Rykiss, Orlee, the editorial team and Urban Post to do locked picture turnovers.

I ended the year being hired to work on STERLING POINT, another Amazon Prime series. It’s a coming of age story “actually” set in Canada. Most major Canadian shows shy away from naming specific and real locations. This show embraces it - leaning into the humour of American and Canadian geography gaps. That’s all I will say. Can’t give away too much other than - holy shit this show is going to be big. Like you need to be sat, put your phones away. The youth are going to love every minute of it.

Bless the editorial team: Gabi Arno, Alison MacMillan, D. Gillian Truster, CCE, David Greenspan, ACE, and Jorge Weisz, CCE.

Me signing off thinking it’s uphill from here. What a treat.