The Guild Logo, film cutting machine and a wave form


The GBFTE magazine, 'First Frame', is available to all members and is posted directly to them. The magazine contains regular features, a Chairman's Letter and Snippets, a section that keeps you up to date with GBFTE news and what fellow members are up to. It also frequently publishes interviews with editors about their work.

'First Frame' is always looking for more contributions about all aspects of editing and our industry. Your input is most welcome and may be emailed to the Guild Secretary.


These are some sample articles from the magazine:


Are you an editor who is also a family person, Picture of  Anthony Buchanan perhaps with small children who need to be taken on the school run in the morning and read to at bedtime? Or maybe you have elderly parents who need looking after in their dotage? Or could it be that you try to enjoy an active social life? I've gone for the lifestyle triple-top by juggling all three scenarios at once, while at the same time trying to stick television programmes together for a living. Yet how often do I arrange to go for a drink with a colleague, only to hear the dread words "sorry, I can't come. I'm stuck in the edit!". There seems to be an unspoken assumption in the post-production world that we editors were somehow reared in Petri dishes, that we would prefer to lead lifestyles that are more Sister Wendy than Hunter Thompson, (such is our dedication to our craft), and that human reproduction is the last thing on our minds. Perhaps I'm a freak of nature, but somehow on life's sweet journey I've acquired parents, friends and children, and pursuing a long-hours work culture is simply not an option. So with budgets and schedules being ever more squeezed, how can we adapt our working methods so as to get the job done, yet still have what I laughingly refer to as "a life"?


Here's what I think. You might not like it but try and stay with me: Picture of  Linton Davies

film is the most important art form in modern culture.

editing is the most important part of filmmaking.

no one gives a s**t about editing.


The greatest honour Picture of  Anne receiving the award that the British Academy of Film and Television Arts can award - that of its Fellowship - was bestowed on GBFTE member ANNE COATES at this year's Awards ceremony held at the Royal Opera House Covent Garden in February. During its 35year history the recipients of previous fellowships have included Alfred Hitchcock, Charlie Chaplin, David Lean, John Huston, Michael Powell, Emerich Pressburger, Steven Spielberg, Federico Fellini, Ingmar Bergman, John Schlesinger, Woody Allan and Ken Loach. This is the first time that the award has been made to an editor.

In his citation speech David (Lord) Puttnam drew attention to the outstanding contribution that editors make to productions. Calling them "Editor Magicians" he noted, particulary, the work of Jim Clark, Mike Bradsell, Gerry Hambling, Stuart Baird and Terry Rawlings (all of whom are, we are pleased to note, members of this Guild!). Without their expertise and commitment he felt that he would not have received his own Fellowship! "The happiest of all my film memories are locked up in the cutting room", he said. "In the right hands, there, even the most troubled films can be made to look good".

Vera Drake

Director Mike Leigh Vera Drake posterhas a reputation for innovative film-making, famously asking his cast to improvise and rehearse for months without a formal script. His most recent film, Vera Drake - winner of three BAFTA awards and nominated for three Academy Awards - relies on this technique to deliver emotionally powerful results. Set in 1950s London, the film tells the story of a working-class wife and mother who also performs discreet abortions for girls who are 'in trouble'. When her secret is revealed, it threatens to break up her family.

For editor Jim Clark, nominated for a BAFTA award for his work on the film and recipient of this year's ACE Career Achievement Award, it was a chance to work with an old friend. "I have known Mike socially for years - we also used to teach together at the London Film School in the 1960s - and although our paths crossed occasionally we had never worked together," he says. "When Vera Drake came up, Mike's regular editor wasn't available, so for a variety of reasons he asked me."

Lithuanian Diary by John Grover
Dievu miškas

I got Picture of crew home early in the afternoon of Saturday 11 December from doing some Christmas shopping and my wife said that she had taken a call for me from Robertas Urbonas and that he wanted me to call him back about a film that was to be made. He had given her a telephone number. Robertas Urbonas, sounds Italian to me, a picture in Italy next year? Wow, sounds good lets give him a call.

After half an hour on the phone I found out that he was not Italian and that the film was not going to be made in Italy. No, it was going to start shooting on the following Monday in Vilnius, Lithuania, they were going to close down for a week over Christmas and restart in Klaipeda, on the Baltic coast, on the 6th of January! Was I interested? Should they send me a script?

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