About Us

The Guild was formed as the Guild of British Film Editors in 1966 as an association of experienced film and sound editors to promote the general acceptance of the importance of the editor's contribution to film making and encourage discussion between editors about technical and creative matters (we are not a trade union).

The Film and Televison industry has changed dramatically over the past 15 years and perhaps nowhere more so than in the editing process. In view of this the Guild has widened its criteria for membership to enable it to embrace editors working in all areas of the industry.

The Guild is one of the founding members of the Cine Guilds of Great Britain, an organisation of the craft guilds of the film industry, which has recently set up the CineMasters project to pass the skills, knowledge and enthusiasm of its members to the next generation of film makers.

The Guild hosts regular meetings, an AGM and social gatherings some of which are open to non-members

Board members

Chairman	Chris Long
	Has worked as a non-linear editor for over 11 years in the UK and the USA, using Final Cut Pro. Clients have included Disney and Channel 4. Most Enjoyable Film: '101 Dalmatians' Favourite expression "No, we won't fix it in post!" Personal dislikes: quiz shows, horror films and Chinese food.
Vice Chairman	John Grover
	Joined the film industry in 1959 as a numbering boy. After National Service in the Royal Tank Regiment John started his career as 2nd assistant at MGM Studios Borehamwood. Then he became 1st assistant editor at MGM Studios working on over 25 British and American films including: Dr Zhivago and 2001 A Space Odessy. John has edited films since 1978. Helped to set up GBFE, campaigned to get assistants included and has been on the Board of Governors for many years. Favourite film that I worked on ‘Dr Zhivago’. Happiest film that I worked on ‘Labyrinth’. Favourite expression "put it back the way you first cut it!" Personal dislikes: overuse of ‘Steadiecam’, in-line cuts.
Treasurer	Russ Woolnough
	Worked on Superman I and II in Visual Effects Dept. and since then was Visual Effects Editor on the original Tim Burton’s ‘Batman’ Alien III; Judge Dredd ; the first ‘Mission Impossible’ ; ‘Event Horizon’ ‘The Avengers’ and ‘Pushing Tin’ For the past 7 years working as a Post Production Supervisor where my experience in the editorial department has been invaluable. Favourite film that I worked on ‘Ladyhawke ’ Happiest film that I worked on 'War of the Buttons' Favourite vfx expression "As the image renders" Personal dislikes: Digital Grading
Secretary	Sally Fisher
	Sally has been Secretary of the GBFTE since 2002. She is also currently Secretary of the Guild of Stunt and Action Co-ordinators (since 1986) and the Cine Guilds of Great Britain (since 1997), as well as running the CineMasters project for the Cine Guilds. Sally has worked in the Film Industry for over 25 years, having previous advertising and PR experience.
	Derek Bain
	Derek joined Visnews in 1963 and trained on camera, sound and finally in the cutting rooms He joined LWT in 1968. He has worked in news, documentary, arts features and drama. He has edited many popular TV series, and single films for television. Derek is currently editing Midsomer Murders for ITV. He joined the Guild in 1990, and has served on the board of governors for around 10 years. Favourite film Dennis Potter's 'Cream in my Coffee' Happiest series 'The Adventures of Black Beauty Favourite expression "So it goes" Personal dislikes: Speed-ramps for no reason
	Reva Childs
	Reva began her career over 15 years ago and has been madly editing ever since; she now has an extensive range of credits under her belt. These range from feature films , obscure art documentaries and short films, moving image for art and theatre installations, rock clips, independent and commercial documentaries and reality TV. She has worked on many award winning films and has two awards herself including an AFI (Australian Film Institute Award), Best Editing (in a feature film) for Walking on Water Favourite film that I worked on ‘Sadness' Most difficult film that I worked on ‘My Mother India’ Favourite expression: Comment from the exec, "of course, it’s all quite do-able by 3 o’clock” Personal dislikes: Self-shooters who have been led to believe filming is simply a matter of pushing the red button
	Michael Johns
	Began career in the camera department then eventually felt that film editing was really more absorbing. Favourite film that I worked on 'The Card' Happiest film that I worked on 'Oliver' Favourite quote "An associate producer is the only guy in Hollywood who will associate with the producer"
	Chris Kelly
	Apprentice/trainee editor at MGM studios Borehamwood in 1962, this was at the end period of what was known as the ?Studio System;? it was still an exciting period then. Left MGM in 1965 to go freelance on the Beatles film Help as 2^nd assistant editor. In 1967 worked on Torture Garden as 1^st assistant. It wasn't until 1982 when offered first editing break on an early Film on Four production Bad Hats. Continued working as editor/sound editor on Shadey, Jewel of the Nile, Flash Gordon, The Keep, Getting it Right, Mona Lisa, Cry Freedom etc. Directed several episodes on Channel 5's soap Family Affairs as well as resident editor on the show for its duration. Retired 2005 after working abroad on King Kong and Mission Impossible 3 as foreign version sound supervisor. Favourite film that I worked on: 'Macbeth' Favourite expression: "Treading on eggshells" I can't do it very well!! Personal dislikes: Comment from the floor: "Oh, we can fix it in post'" & comment before a sneak preview "This is still a rough cut"
	Dave King
	Having previously worked as a newspaper photographer joined BBC as Trainee Asst Editor in 1961 working on the ‘Tonight’ programme, a 45 minute nightly Current Affairs Magazine with Cliff Michelmore as anchor. Amongst directors worked with at this time were Mike Tuchner and Jack Gold. Shortly afterwards edited first Wednesday Play for Jack, with Tony Garnett as Producer – ‘The Lump’- about the building industry. More Wed Plays, and Plays For Today, followed and during 36 yrs with Corporation edited all types of programme output including Ken Russell’s last for the Beeb – ‘Dance of the Seven Veils’- a fantasy about Richard Strauss which caused questions to be asked in Parliament. Also edited Tony Palmer’s ground breaking film of 60’s Pop Music ‘All My Loving’ with whole sequences made up of one frame cuts. Towards end of time at BBC specialised in Music and Arts programmes and their Drama output. Since 1998 have been Freelance, working mainly in Drama, and have subsequently won a Bafta in that category for editing ‘A Rather English Marriage’, for director Paul Seed, and last year won another for Paul Watson’s documentary about alcoholism ‘Rain In My Heart’
	Adam Masters
	Started in the cutting rooms in 1983, and is now a freelance drama editor currently working on television series such as "The Bill" and "Casualty".
	Barry Peters
	I entered the film business and worked at Pinewood for Disney for 4 years as an assistant Editor. Then I worked as assistant Editor/sound Editor on such pictures as "Those Magnificent Men in their Flying Machines", "Where Eagles Dare" and many others. Started my career as Editor in Amsterdam on" Amsterdam Affair"; spent 6 years in Los Angeles in the early nineties, worked with John Huston and played poker with him in Budapest on "Escape to Victory". Been on many Locations incuding China,Hungary, Germany, France, America etc. Favourite film 'Magnificent Men' Happiest film that I worked on 'Mistral's Daughter' Favourite expression "Play it again Sam" Personal dislikes: Not working.
	Brian Sinclair
	Started working as a film librarian in the early sixties and progressed to assistant editor, working with editing legends like Jack Harris,Ralph Kemplen and Gerry Hambling. Started cutting commercials in the seventies and moved into the documentary and corporate world soon after that. Feature film work became less frequent and the commercial sector gave more freedom as I regularly directed and became post-production supervisor on a number of large budget ventures. The use of computers in their basic form in the days of tape editing were sure to be leading to a rethink in the way editing would progress. I became involved in writing software for editing systems in the early nineties before the revolution began. I have written reviews for various editing platforms and am always 'road testing' new systems. I would prefer to work with film and am a frequent cinema goer Favourite film 'Sexy Beast' Favourite film to have worked on 'Ryan's Daughter' Favourite line . . "let me know when you have something to show me" Favourite director . . .anyone who has not rented a video from Blockbuster
	David Sinclair
	I entered the film & television industry in 1980, starting my career in the production office as a runner for Illustra Films in Soho, which was producing some of the best commercials and corporate films of its day. I had a great time gaining a working knowledge of the film industry from pre production to shooting to post production and worked with some great technicians of the time. After becoming freelance in 1989 I was fortunate enough to be offered work at The Shell Film Unit where I worked with and learned from many great producers and directors. While working at Shell I won two awards for creative excellence at the US film festival in 1993 and 1994. Since then I have cut documentaries for BBC, ITV, Channel 4 and Channel 5 working through various production companies – including D-Day in colour for ITV 1 and Christopher Reeve: Keeping Hope in motion for BBC 1. I am now senior editor at IMG, training three edit assistants.