Tag: Tyler Perry

SHROPSHIRE, TERILYN A.

Terilyn A. Shropshire, ACE

No birth date available.

Terilyn A. Shropshire, ACE, has edited six films for Gina Prince-Bythewood, including Love and Basketball, The Secret Life of Bees, Beyond the Lights and The Old Guard, as well as three episodes of Shots Fired.
For Kasi Lemmons, she edited Talk to Me, The Caveman’s Valentine and Eve’s Bayou, which was the highest grossing independent film of 1997, and edited Miss Bala for Catherine Hardwicke.
Shropshire won an Eddie Award for Vondie Curtis-Hall’s Redemption: The Stan Tookie Williams Story. She was also part of the editing team (with Spencer Averick and Michelle Tesoro) for the 2019 TV mini-series When They See Us, directed by Ava DuVernay.

“Everyone, when they start coming up and studying film, they want to be a director or writer-director and I think there’s a lack of ability to really show people who are interested in being in the entertainment field from sound mixers, production designers, or costume designers; the ability to show that there’s more than being a director and these contributions from other fields are important. If those options could be more exposed, then you would see more people doing what I do.”
— “Exclusive: Editor Terilyn A. Shropshire Talks Beyond the Lights” by Wilson Morales. The full text can be found in the Appendix.

HOY, MAYSIE

Maysie Hoy, ACE

Born 1949

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.