Bio
I’ve been in the television business since 1971 and jumped to dramatic film in 1988 as a freelance editor (yeah, that makes me a little older than I care to admit). My background in studio and camera work has been an asset in understanding the difficulties of film production. Before making the leap to film I cut many TV productions from lifestyle, variety, musical, documentary and even news in Toronto for both Global TV and CTV (Channel 9 CFTO).
I’ve been very fortunate to work on some major Canadian TV series, E.N.G in the late ‘80’s early ‘90’s…Due South in ’97-98. Then there was Goosebumps in ’95-96 and Dark Oracle in 2004-5, winner of the International Emmy for Best Children’s Series. I was nominated in the Director’s Guild Awards for Outstanding Editing for Burn: The Robert Wraight Story, an MOW about Weibo Ludwig in Alberta. I have just completed the 
very successful first season of Heartland, a CBC drama set in the new west.
Regardless of my disappearing hairline and slight pudginess I plan on being around to do many more high end series in this country for some time to come.
Philosophy
To be succinct when describing my beliefs regarding the craft of editing is challenging but I’ll try.
The first word that comes to mind is adaptation. All stories have their own pace, setting and potential style. That’s my job – to adapt visually to the story. Is it character driven, action driven, story driven? Is there a place for a defining and distinctive style or is it best to allow the story to unfold in a classic and unobtrusive manner? I always try and define this before making my first cut but often ideas arise during the process. Having a director that communicates clearly and is open to different points of view is a great asset as well.
I try to think of a script like a fine piece of classical music. Most stories have moderately paced scenes accented by flurries of activity eventually culminating in an emotional climax. Editing should reflect this and match the emotional state of the scene. Sometimes (even within a slower scene) the cutting needs to be quick, sometimes it’s more prudent to let the shot play out. It’s more important, I believe, to know when not to cut. Although it’s not always possible, every cut should have motivation and purpose. In many ways my job is to get out of the way and let the story play out but somehow enhance every single moment. Contradiction? I don’t think so. The editor is the invisible man and should be. If people are aware of the editing than I have failed. I have a responsibility to tell the story as clearly 
and entertainingly as possible. That is my goal.
That being said, on a practical level my job is to present a solid cut that allows the director and producer to get in and out, alleviating hours of recutting. I have done that consistently for the past 20 years.
Set on a ranch this character driven dramatic pilot was beautifully shot by Ron Murphy in the Caladen hills of Ontario. 
Girls soccer team shoots for gold. A lot montage material with music. I think TJ Scott had as much fun shooting it as I did editing it. 
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