Veronika Jenet, ASE

No birth date available

In 1975 Veronika Jenet, ASE (*) left her job as a German civil engineer and moved to Australia, where she spent several years living in tents with friends as she explored and filmed her new home using a Super-8 camera. Jenet’s interest in filmmaking led to a long collaboration with director Jane Campion. With credits listed under the name Veronika Haeussler, she did the sound-editing on A Girl’s Own Story and was editor on Passionless Moments, Sweetie, and An Angel at My Table. In her work after that, as Veronika Jenet, she two more of Campion’s films, The Portrait of a Lady and The Piano, for which she received Oscar, BAFTA, 20/20, and Eddie nominations. Jenet has continued working with Australian directors such as Rachel Ward (Beautiful Kate) and Cate Shortland (Lore), and her work has received numerous Australian film industry accolades including two Australian Film Institute Award nominations and four AFI wins (for The Piano, Curtis Levy’s Hepzibah, Elissa Down’s The Black Balloon and Justin Kurzel’s The Snowtown Murders, aka Snowtown), two Inside Film Award nominations and three IF wins (for Snowtown, Philip Noyce’s Rabbit-Proof Fence and Claire McCarthy’s The Waiting City), and two Australian Screen Editors Awards nominations and one ASE win (for Ray Quint’s Bastard Boys mini-series).

(*) ASE, the Australian Screen Editors guild, was founded in 1996 and is “dedicated to the pursuit and recognition of excellence in the arts, sciences and technology of motion picture and televisual post production. It aims to promote, improve and protect the role of editor as an essential and significant contributor to all screen productions.”

“Even me, as an editor, I go and see a movie and I might look for the editing in the first five minutes. And let me tell you, if I’m still looking for and seeing the editing after ten minutes, I know it’s a turkey. You have to get lost in the story. I know it sounds airy-fairy but I do still believe that it’s an art form and that we create art. That is why we are doing what we’re doing.”
“Veronika Jenet on the art of film editing” by Anne Fullerton. The full text can be found in the Appendix.


Margaret Sixel, ACE

No birth date available.

Margaret Sixel, ACE is best known as an editor on feature films (Happy Feet; Babe: Pig in the City). She won the Oscar and BAFTA in 2015 for Mad Max: Fury Road, which also won thirteen other Best Editing awards.  Her work extends across numerous genres including fiction & documentary features, live-action short films and animated comedies.

“You know, I had a lot of terrific guys in the cutting room and a few of them would say, ‘Maggie, it’s great that you’re doing it because, you know, we would have stopped ages ago with the explosions, and that would have been cool, and we would have been happy.’ But, you know, it wasn’t enough for me. I really had to feel that it was an emotional content to a lot of the stunts and try to keep the characters in there, so, you know, maybe I did bring that quality to the film.”
— “You Bite Off a Little Bit: Mad Max’ Editor on How to Shape a Film” interview by Ari Shapiro. The full text can be found in the Appendix.  


Jill Bilcock, ACE, ASE

Born 1948

Jill Bilcock, ACE, ASE is an Australian film editor who has edited several films by Baz Luhrmann, including Strictly Ballroom, Romeo + Juliet, and Moulin Rouge, which all received BAFTA nominations. Moulin Rouge also received an Oscar nomination and won an Eddie.  She edited Jocelyn Moorhouse’s How to Make an American Quilt and The Dressmaker, which received nominations for Best Editing from AACTA and FCCA. Bilcock has also edited for directors Lizzie Borden, Monika Treut, Clara Law and Ana Maria Magalhães (for their segments of Erotique), for Sam Mendes and many others.

“It’s a weird thing to say but I don’t look at films for the editing, unless it’s bad. [Laughs]. I see many Australian films and one which really sticks out in terms of editing would be Sweet Country. It’s excellent. I don’t really go for things like Mad Max: Fury Road even though it’s done really, really well and you can see the labour in it. I prefer smaller films. A well edited film is a film that works. I can see the skill in a lot of movies but I’m just not that interested in the way a film is edited. [Laughs]. It has to be emotional, it has to arrive to a conclusion and it has to tell a good story. I don’t go for all that invisible bullshit. Sometimes it’s correct and other times it isn’t. It’s just got to deliver stylistically according to the director. Baz was a madman so I’d give him a mad edit!” [Laughs].
— “Interview: Jill Bilcock” by Matthew Eeles. The full interview can be found in the Appendix.