Recognised in the top tier of Australian commercial editors, Bernard Garry is a founding member and well established talent in The Editors’ stable with multiple industry-awarded credentials earned over a varied career.
ASE-accredited since 2010, Bernard won a Best Editing ASE in the same year for NAB's More Give Less Take and won a Gold AWARD and Silver Clio following his work on the Australian Defence Force's What Is Up campaign. He has won Gold and Silver awards at a host of industry award shows, including New York Festivals, Clios, LIAs and from the MADC.
Bernard’s highly visual, instinctive style draws from European cinema and finds inspiration in story-driven narratives cut against a strong score. Working across the globe, Bernard calls Sydney home. A self-described design nerd and record collector, Bernard is also an avid follower of the Sydney Swans.
Stuart Morley is an experienced editor of both commercials and feature films, including the highly awarded Rabbit (2017), directed by Luke Shannahan. Stuart’s extensive and eclectic career has seen the Australian Screen Editors’ Guild nominate him for Best Feature Editor for Michael Joy’s 2008 film Men’s Group.
Stuart has won international recognition with Cannes Lions, London International Advertising Awards, New York Business Stevie Awards, AWARD Awards, and several film festival screenings, and acknowledgments from around the world, including in Melbourne, Sydney, Los Angeles, Palm Springs, Rotterdam, Texas and Sitges.
Inclined to test his physical limits, Stuart is a keen mountain-biker who enjoys the odd calculated risk.
Known for his sharp sense of comedic timing and quirky style, Mark Burnett’s career is a wide-ranging and accomplished blend of commercial, TV and feature film editing work. Mark’s industry recognition features a host of international garlands such as the Clios, BTA Arrows, Cannes Gold Lions and APA Crystal Awards.
Highly skilled at both short and long form, Mark is no stranger to seeing his cutting talents celebrated at Sundance, the renowned festival having featured LCD Soundsystem’s documentary Shut Up and Play The Hits (2012), The Greasy Strangler (2016) and 2018’s An Evening With Beverly Luff Linn. The short film Edmund The Magnificent, starring Ian McKellen and featuring Mark’s distinctive work, was the opening film at the Palm Springs Film Festival 2017.
In 2018, Mark returned home to The Editors in Sydney following nine successful years at Speade and The Whitehouse in London.
Having cut for some of the top directors in Australia and New Zealand, Tim Mauger signed to The Editors in 2017. Tim brings a large bad of trophies with him, including 2 Gold and 4 Silver Axis in New Zealand, 2 Silver AWARD awards in Australia and 1 Silver from the London International. Tim’s most recent triumph at AWARD was for Noah Marshall’s Father & Daughter campaign for McDonalds.
Drawing inspiration from silver screen giants such as Jonathan Glazer, Wes Anderson and Paul Thomas Anderson, Tim also turns to his love of music, from 80s post punk to experimental electronica, for inspiration in the cutting room. Tim loves to craft amazing cinema as much as pushing humour to its limits, always with a beautiful rhythm in mind.
In the past year, Tim took home Silver at the AXIS Awards in NZ for Noah Marshall's McDonalds Father and Daughter and a Silver AWARD Awards for Adam Steven's Steinlager Born To Defy spot.
An avid surfer, Tim’s second passion sees him chasing the swell on both sides of the Tasman with a board in every port.
Raised between Spain, France and Italy, Alexandre de Franceschi followed studies of French literature at the Sorbonne University. His passion for literature brought him to films and specifically to editing, which he regards as "the tool where the grammar of the film comes to life".
An experienced editor who is comfortable with a wide range of genres, Alexandre’s adaptive and innovative style is equally powerful across commercial, TV and feature films, particularly sought after for his fine handling of dialog and script editing.
Alexandre has won numerous advertising and film industry awards, editing the "Boags" campaign, directed by Steve Rogers which won Gold at Cannes in 2009. Nominated 6 times for an AFI and twice taking the coveted title home, he also received a Primetime EMMY nomination for his editing on Jane Campion’s Top of the Lake television mini series, starring Elizabeth Moss, Peter Mullan and Holly Hunter.
Alexandre has worked with renowned actors such as Robert de Niro, Meg Ryan, Cate Blanchett, Sam Neil, Hugo Weaving, to name but a few. He cut critically acclaimed Lion, directed by Garth Davis and starring Dev Patel and Nicole Kidman. The film scooped up 6 Oscar nominations and earned Alexandre the AACTA Award for Best Editing, in addition to the ASE Avid Award for Best Editing on a Feature Film.
Alexandre is twice winner of an ASE, originally awarded for director John Curran’s The Painted Veil, starring Edward Norton, Naomi Watts and Liev Schreiber.
A talented linguist, Alexandre speaks four different languages and his flair for cross-continental communication has come in handy in many edit suites across the globe.
Award winning editor Ryan Boucher’s career is a record of diverse and industry-leading work; from cutting music videos for the likes of George Michael, Wiz Khalifa & Disclosure, to editing internationally awarded campaigns including Amnesty International’s Viewer Discretion Advised and RSF’s War Reporters.
Recent successful TVCs have seen Ryan working for clients such as Mercedes, Prada and Holden. His work on the documentary Miss Black Germany (2018) contributed to the film winning Best Documentary ASVOFF 2018. Ryan’s cut for Samsung’s Netball Sponsorship earnt him Silver at AWARD and the coveted Australian Screen Editor’s Ellie for Commercial Editing.
Outside of Ad land, Ryan has worked on major studio feature films and globally syndicated programs for National Geographic & Discovery.
Ryan is a consistent continent-jumper, going wherever the good work takes him.
Jessica brings a deft and expert cut to TVCs, music videos, and both short and long form film. Jessica won Best Music Video at the 2015 ASE Awards for We Are The Braves’ Your Ghost and the previous year scored Best Open Content for her work on the Canon Shine campaign. Known for a razor-sharp, fast-paced and rhythmic cutting style, Jessica has built her reputation and expertise over a varied and successful career.
Jessica recently brought her talents to bear on TVC spots Advice To The Younger Me for Southern Cross, and on The Matriarchs for Carefree, which picked up a Glass Spike Award for Change at 2018’s Spikes Asia Awards.
Making the move from the US to Australia in 2008, Jess found a place to call home at The Editors in 2011. Having honed her skills via wide-ranging experience with the small screen, Jessica cut her first feature film with Roger Scott’s 2018 Australian thriller, The Marshes.
In her down time, Jessica is a master of Zen; teaching yoga to her students and bringing her signature calm to the class.
Proud partner at The Editors and with a deep knowledge and love for the industry, Peter Barton is known for his distinctive work across a range of forms; from features and music videos through to commercials and documentaries. Peter’s feature film editing credits include Australian comedy The Man Who Sued God (2001).
Peter won an ASE Best Editing in a Music Video Award for Angus Stone’s Bird On A Buffalo and has picked up a Best Editing AFI for the documentary Connected – The Power of Six Degrees (2008). Peter has also previously been nominated for ASE Best Editing for Levis’ A Billion Stories.
When not in the edit suite, you can find Pete roaring along the Pacific Highway on his beloved motorbike.
An extremely passionate and experienced editor, Laurence Van Camp joined The Editors in 2013.
Laurence is inspired by the challenges and possibilities of storytelling within both short and long form narratives. The 2015 feature mockumentary Psychoanalysis took home a variety of awards at international film festivals, such as the Award of Excellence at the Canadian International Film Festival and the Special Jury Award at the Melbourne Underground Film Festival. Laurence’s stirring editing work also includes the 2013 feature Nerve, debuting at the Sydney Film Festival.
When not behind the screen, you can find Laurence cutting in the kitchen, whipping up something tasty on The Editors’ BBQ.
Originating from the US, Grace Eyre moved her career to Australia and joined The Editors in 2013. She now resides in Melbourne, and is proud to call the country’s cultural hub her home.
Grace was shortlisted for a Cannes Glass Lion for her provocative work on the 50 Shades of No campaign, which also saw her nominated for an ASE Ellie award. Grace’s work also includes Broken (2018), which won an Official Selection at the Sydney Film Festival and Yeoseop Yoon’s dramatic short Beginners (2017) which earnt Official Selection at the Melbourne International Film Festival.
Her latest short, Joy Boy (2018) has been selected for numerous festivals, including St. Kilda and Palm Springs, and picked up gongs for Best Director, Best Screenplay and Audience Choice at FreshFlix.
In 2019, Grace was selected as part of the Film Technique jury at the 60th Annual CLIO awards.
Far from just a visual talent, Grace published the novel Prolongment in 2013.
Represented by The Editors in Sydney since 2010, Stewart Reeves is a widely experienced and in-demand editor with a truly international reputation. British-born and LA-based, Stewart honed his craft in London and Amsterdam before moving to Sydney and quickly establishing himself as a powerful commercial talent.
Building an extensive list of commercial credits, Stewart made the move to LA, signing to leading US edit house Rock Paper Scissors in 2012. Stewart is now a company partner at Work Editorial, delivering his distinctive cuts to high-profile clients across London, New York, LA and Sydney – or anywhere the job demands.
Stewart's varied and successful career has earned him a raft of awards, including Editing Gold at the 2016 Clio Awards for Samsung's The Chant.