Filmmakers Who (always or sometimes) Edit:
Parkerson to Puerrer
Sabrina Schmidt Gordon
Dee Dee Halleck
Mary Ellen Bute
Renu Saluja graduated from the Film and Television Institute in Pune in 1976 and began editing—a field which, at that time in India, was dominated by men. She worked with both mainstream and art house Hindi directors. Saluja has thirty-five credits, working on feature films, documentaries, short films, and TV series and is well known for editing 90s Indian classics like Jaane Bhi Do Yaaro (1983), Albert Pinto Ko Gussa Kyun Aata Hai (1980), Dharavi (1991), Bandit Queen (1995) and Calcutta Mail (2003).
Saluja won National Film Awards for Chopra’s Parinda, Mishra’s Dharavi, Mehta’s Sardar and Shukla’s Godmother; the Filmfare Award for two Chopra films, Parinda and 1942: A Love Story; and the Star Screen Award for Mishra’s Is Raat Ki Subah Nahin. Mishra’s Calcutta Mail was the last film she edited before her untimely death at age forty-eight. In 2006, she became the first editor to have an Editing Award named after her.
“I’m a film editor and I think, a damn good one!”
— “Luminary: Profile: Renu Saluja” by Karan Bali. The full text can be found in the Appendix.
Maisie Hoy, ACE began working in 1975 for Robert Altman and continued for eight years, first as an assistant editor on Nashville and 3 Women and then as co-editor of The Player (with Geraldine Peroni). Hoy also edited The Joy Luck Club and Smoke for Wayne Wang. Between 2007-2014, she edited fourteen films for Tyler Perry, from Daddy’s Little Girls to The Single Moms Club. She received an Emmy nomination for Dolly Parton’s Coat of Many Colors. Hoy has thirty-nine film credits.
“It’s funny because the first editor I worked for in feature films was a Black woman. She was the first and the last. But I also worked with Maysie Hoy, who’s Asian-American. She’s a boss. She taught me to have confidence in who you are as an editor, and to speak not only with consideration and compassion but also with control. You walk into a room and people have preconceived notions of what you can do and how smart you are, but you can’t focus on that, because it will distract you.”
—Making The Cut: Joi McMillon Reflects On ‘Moonlight,’ Her History-Making Oscar Nod” by Jihan Thompson. The full interview can be found in the Appendix.
Kahéna Attia (sometimes also credited as Attia-Reveill) is a Tunisian editor who began her career as an assistant editor in 1971 and has twenty-five credits. Her first is for Ousmane Sembene’s Camp de Thiaroye; she also edited his Faat-Kine. Attia won best editing awards at the National Film Festival of Tangier for Rachid El Ouali’s Ymma and at FESPACO for Nadia Fares’ Honey and Ashes. She also edited Mohamed Challouf’s Tahar Cherera—In the Shadow of the Baobab, a documentary about the father of pan-cinematic Pan-Africanism and founder in 1966 of Carthage Film Days, the first film festival in Africa and the Arab World.
“For Guimba, I tried to show things from the point of view of an African woman. Cheick [Oumar Sissoko] allowed me to use all of the creativity I could bring and in this he was very respectful of my input; women can challenge State tyranny by means of seduction, an aspect that contributes to the film’s originality. The writing itself allows this aspect to be strengthened in a film directed by a man.”
—Interview with Kahena Attia at FESPACO in 1997 by Olivier Barlet. The full interview (in French) can be found in the Appendix.