I joined the BBC in 1980, as a graduate trainee. I first started editing in 1983, and was promoted to become a videotape
editor in 1984. With the arrival of non-linear editing on computers, I left the BBC and now edit films and TV drama full time.
I have been nominated for a BAFTA & an Emmy, and recent work includes 2 feature films Summer in February, &
First Night. I am currently editing with director Antonia Bird again, on a new tv series called The Village. We have collaborated
frequently since 1986.
In 1959 I started at MGM Studios, Borehamwood as a numbering boy and then progressed to Second Assistant on the picture side on feature
films, then to First Assistant on picture, sound and music. I had a thorough training and could handle anything on or related to film.
From 1962 I worked on many films as First Assistant including The Haunting, Goodbye Mr Chips, The Wilby Conspiracy, Soldier Blue, Nicholas
& Alexandra, Grand Prix, 2001 A Space Odessy and Doctor Zhivago. I have worked all over the world with some of the best directors and editors around.
From 1977 I was Assembly Editor on The Spy Who Loved Me, Wild Geese, Moonraker and Sea Wolves.
From 1981 I was Editor on For Your Eyes Only, Who Dares Wins, Octopussy, The First Olympics Athens 1896, Life Force, Labyrinth, The Living
Daylights, Consuming Passions, Licence to Kill, Buddy's Song, Frankenstein, Nobody's Children, Gospa, The New Professionals, The Brothers, Monsignor Renard,
Fat Friends, Hairy Tale and Forest of the Gods.
I joined the news film agency Visnews in 1963 and trained in the film library, camera and sound departments and finally in the news
cutting rooms. In 1968 I joined London Weekend Television as an assistant editor working my way up to editor, cutting numerous series and single films
in the documentary and drama departments. I left LWT in 1990 to work as a freelance editor.
I have worked on many popular TV series, The South Bank Show, Dempsey and Makepeace, London's Burning and Agatha Christie's Poirot
among many others.
I am currently editing the Midsomer Murders with John Nettles for ITV. I joined the Guild in 1990, and have served on the board of
governors for the past 10 years.
Started my career in the camera department, after a period of time felt film editing was more absorbing. Early
career as assistant editor for Anne Coates and Clive Donner. Was one of the partners of production company Film Partnership
with Arthur Wooster and Bob Angel, directing and editing documentaries and drama. In addition to picture editing, has worked
as sound and music editor - Otello, Oliver, Brazil - also location sound recordist. Passionate interest in film production
and ocean sailing.
Following the London College of Printing (now The University of the Arts) Photography Film and TV Degree
course, I joined a corporate video company, and made films for 3 years for transport companies. After this I became a
freelance editor, being one of the first to use the Avid Media Composer; it was love at first sight. I worked with Avid
Technology, and the editing opportunities increased dramatically. I cut youth TV in the early 90's, and went on to
human interest documentaries. In 2001 I edited my first news and current affairs film, a two hour baptism of fire, and
continued editing this genre for sixteen years. This work was mostly broadcast on BBC and Channel Four. Recently I
finished editing a documentary feature film I directed. I'm developing new films, and a children's media brand, to
enhance children's experience of the arts. I'm a member of Bafta, Bectu and ALLi and a Trustee of Gingko, a charity
which promotes music to promote forest conservation.
Editing can be a highly rewarding and exciting craft, and I believe our working life experience
can be positively transformed by belonging to a community like this; I want the GBFTE to thrive.
I am a freelance editor working the the corporate and charity world.
My interest in the technical side of post production has brought me attention online,
including a link to my blog from Apple's Final Cut Pro web site.
I came to editing from motion graphics design, where I designed graphic and title sequences
for TV programmes on the BBC and UK cable TV channels. I was the editor of drama short films
funded by the BFI and the assistant editor on Too Much Too Young, an independent UK feature film.
As well as wanting people inside and outside the industry learning more about what editors contribute to
successful films and TV shows, I'm interested in fostering editing and production skills in the wider
population who want to tell stories using video, be it in cinemas, on TV on computers or on mobile devices.
After graduating from a film school in Canada, I joined the BBC in 1980. I went freelance in 1982 and have been so since,
cutting music promos, documentaries, dramas and current affairs programmes. The potential of doing a job that at times can
be both hugely challenging and euphorically satisfying is what has kept me going for 35 years. As well as a busy editing
schedule, I have been involved with the C4 producer training programme and I am a guest lecturer at Solent Southampton and
Middlesex Universities. I have produced and directed films, been a jury member at film festivals and am a member of DirectorsUK and BAFTA.
I believe the Guild must continue to grow and spread the word; we need to exploit fully the Guild's phenomenal pool of
talent and experience and use this resource to engage, inspire and celebrate what we do.
After graduating from the NFTS in 1992, and a couple of years as an assistant editor, my first major editing job was on the
medieval drama series, Cadfael. I have since edited several prime-time television dramas including Kavanagh QC, The Vice, Inspector Morse,
Poirot, William & Mary, Doctor Who, Silent Witness and Lewis as well as one-off films such as Goodnight Mister Tom, Anybody's Nightmare,
After Thomas and Goodbye Mr Chips. There have also been shorts, documentaries and quite a bit of animation along the way.
I currently convene the editing programme on Goldsmiths' MA Filmmaking course (part-time - still available for editing gigs!).
Having benefitted over the years from the wisdom of editors such as Barrie Vince, Dai Vaughan and Ernest Walter and from my first - inspirational
- film tutor, Adrian York, I think it incumbent upon this generation of editors to pass on the benefits of our experience to the next.
The editing profession found me when I was lucky enough to be given 2
weeks work experience in a high-end commercials post facility called The House. Prior to that I was a labourer
in the construction industry.
To my delight The House kept me on there as a runner.
There was a room in the basement with a computer and desk which no-one used. One day I switched on
the computer and clicked on the purple icon on the desktop and discovered what an Avid was! After that, most evenings I
stayed behind after work and trained myself on the software. Cutting shorts, friends' music videos and student films soon
led to corporate gigs and then the big bad world of freelancing. That was back in 1994 and ever since then I've enjoyed
learning and practicing the many facets of our craft. In recent years documentaries have been my mainstay. What I Iove about
our profession is that it's a never-ending journey of exploration and education. Everyone has their own unique way of
telling a story. Nothing pleases me more than to meet colleagues whose work I've seen and to get to hear how 'they' do
what 'we' do.
Film has been my passion for as long as I can remember. My first film job was on THE RIGHT STUFF in 1982. I entered the
BBC as a trainee assistant editor a year later. I've worked as the director's assistant on a few features and after coming runner up in the
Lloyds Screenwriting Competition, I joined a natural history film company and have become 'a wildlife editor', a label that frustrates
to this day. I directed an observational documentary at the BBC, a four part series on the Serengeti and an independent
feature that got a nod at the London Independent Film Festival. Freelance since 1987, most of my work is now editing and
writing. I hope to work on drama sooner rather than later. In this 21st century world of endless screens and media,
editing is a craft that is commonly misunderstood, vitally important and yet mostly invisible. It is my intention
through FIRST FRAME magazine and outside Guild events to raise the profile of our craft. I would also like to find a way
to get FIRST FRAME out to potential members working in the industry, editors unaware that our Guild exists.
I studied film and television at the University of Glasgow and joined their established and successful student television station, Glasgow
University Student Television (GUST).
After finishing university I landed the role of Assistant Film Editor in a production company working across a range of factual and entertainment
programming. Following this was a year on a Channel 4 series about the First World War and three series of a BBC Scotland drama called Sea Of Souls.
I was very fortunate to get a break into television drama as Film Editor on two series of Hotel Babylon and a one off 90-minute drama
called Whatever It Takes. I continue to work in drama and short film though occasionally I edit factual programming such as Panorama and
Ultimately I would like to cut feature films and am excited by the technological advancements that have allowed cinema quality films to be
made possible on the limited budgets that are available to film makers these days.
With a career spanning over 40 years in film and video production, I started as a trainee assistant editor for the Rank Organisation. I soon
became freelance and worked on numerous features as a first assistant film and sound editor. I was privileged to have worked with editors Jack Harris,
Gerry Hambling, Ralph Kemplen and Winston Ryder.
I started editing commercials in the 70s and moved briefly into directing, but still kept in touch with feature film work. With the boom
in corporate and conference work in the 1980s and 90s I was editing in film and videotape almost full-time. With newer technology I was also directing
multi-camera as well as editing and took up part-time teaching posts at Harrow and Bournemouth Film Schools, in degree courses.
I have been a Guild member for nearly 20 years, including service as Chairman.
I am passionate to uphold the craft of editing and to promote the skill as an important element of motion picture production.
I entered the film industry in 1968 following nearly three years at Rank Film Laboratories. As an assistant editor I was fortunate to work on
location in Spain with Michael Cacoyannis and in Paris, Corsica and Israel with Otto Preminger. Posting in London as assistant sound editor, I worked on Barry
Lyndon for Stanley Kubrick.
I joined the Optical Visual Effects team on Superman 1 and Superman 2 at Pinewood Studios. In 1980 I went to Los Angeles for the editing of
Peter Hyams' film Outland still working for editor, Stuart Baird and director Richard Donner. We travelled to locations around Italy on Ladyhawke returning to
L A for the post.
I was Visual Effects Editor on Tim Burton's Batman, where all the visual effects were produced optically. On Mission Impossible and Event
Horizon which followed, digital effects were used for the more complex shots.
The last eight years of my career were spent in a desk job as a post production supervisor working in Soho, retiring in 2008.
I have been Secretary of the GBFTE since 2002.
I was also Secretary of the Guild of Stunt and Action Co-ordinators from 1986 to 2017 and am
currently Secretary of the Cine Guilds of Great Britain (since 1997).
I have worked in the film industry for over 30 years, having previous advertising and PR experience.