I’m a freelance film and television editor based in the Toronto area.
I consider Katharine to be an outstanding artist in her field…
Shelley Niro, director
I’ve worked largely in documentary, and have cut many award-winning films, including Kevin McMahon’s Stolen Spirits of Haida Gwaii, (Gemini Award for Best History Doc), Min Sook Lee’s El Contrato (nominated for Best Social / Political Gemini), Laura Paglin’s Facing Forward (Crystal Heart Award), Sara Roque’s Six Feet Deep (Honourable Mention, DOXA), and many many other outstanding documentary films.
Katharine Asals is an editor who carries a deep understanding of the human story. She has an exquisite appreciation for the balance of voice, and is a passionate artist who works alongside you to discover the story and spirit of your film.
Min Sook Lee, director
Given my experience in documentary, I’ve also worked on many factual television series, and was lead editor on Food Network’s popular show The Opener, a complex verite-based doc series with a large shooting ratio –
The Opener…required an editor with great judgement, patience, experience, and…the ability to find story in disparate material. Katharine always rose to this challenge with grace.
Daniel Gelfant, producer
In recent years I’ve had the opportunity to do some teaching – I’ve conducted lecture and hands-on classes at both Humber and Sheridan College, and was twice invited to be an Editor-Mentor in the National Film Board’s Momentum Program. For several years I served as the Editor in Residence at the the Canadian Film Centre, and as a mentor in various other workshop situations –
I learned so much from working with Katharine that I invited her to be a guest lecturer in my editing workshop. My students really benefited from her sensitive and thoughtful critiques as well as her insights into the documentary editing process. I would love to work with her again!
Laura Paglin, director
Please be in touch if you’d like to see samples of my work.
Email – email@example.com
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Sometimes when people ask me about what I do, I might talk about the “cutting out the bad bits” as Walter Murch put it, or I might refer to the distilling process of making 150 hours of footage into a 45 minute television program.
But sometimes I tell people what it really feels like – I interpret people’s dreams.
I wanted to let you know how much I appreciated working with Katharine Asals. Her musical sensibilities as an editor were superb. I especially appreciated her ‘divining’ techniques at helping me to figure out what I wanted or was trying to say with the piece.
David Acomba, director
Not always, of course – the television series are more of a process of wrangling stray footage into a satisfying format, of carving story and stylistic coherence out of disparate miscellaneous fragments.
But occasionally there is the intimate moment of a director whispering a secret vision into my ear, and the magical process of working together to bring that dream as alive as possible.
Over the years I’ve had the great fortune to collaborate with many innovative directors and producers, contributing to the making of significant, ground-breaking and award-winning work.
Years ago I worked with the actual tangible stuff, as assistant-everything to the late legendary Peter Wintonick on the documentary Manufacturing Consent – Noam Chomsky and the Media, and I cut my first documentary, Tierra Madre, for director Mary Ellen Davis on a Steenbeck – a film that won the Medianet award at the Munich Film Festival.
Moving into the world of digital filmmaking and AVID editing, I cut the feature documentary Deep Inside Clint Star, described as a “bright, free-wheeling personal documentary”, a “genuine and memorable portrait”, which went on to win the Gemini Award for Best Social / Political documentary.
Fiction training began in the Quebec film industry as assistant editor on feature films with editor André Corriveau, and continued with a residency at the Canadian Film Centre’s Editor’s Lab. Over the years I’ve cut numerous short fictions, as well as dance and music videos.
The hazards of fate made me fluent in Spanish and functional in French, so I’ve been able to offer some proficiency in films shot in these languages, and I’ve had the great good luck to work on a large number of aboriginal projects.