Governor Spotlight: Picture Editors

Briefly describe what you do.

As a film and television editor, I work with disparate images, performances, sound and music to tell stories that resonate, make people laugh and cry, all in a seamless way.

What motivated you to become a governor? 

In all the years I’ve been a member of the Television Academy, I can’t recall ever seeing a woman of color as governor in the Picture Editors peer group. While I’ve always felt welcome in the organization, I never saw myself represented, so it was time to change that. If you want representation, you need to represent, right?

What are some of your proudest accomplishments or credits? 

There are so many incredible people that have made an impact on my life. I can only name a few, or we’d be here for a year. Collaborating with talented and undeniable creatives on projects like Insecure, Joy Ride and Crazy Ex-Girlfriend have been some of the most rewarding experience so far. Issa, Prentice, Deniese, Aline, Adele, Theresa and Cherry have all changed the course of my career. Not only have they been formidable allies, but they’ve also taught me the importance of authenticity in storytelling, amplifying diverse voices and most importantly, to live unapologetically. I’ve applied the same principles to our Peer Group Executive Committee. Robert and I have worked closely together to make sure the members on our committee are diverse not only in gender, sexual identity and race, but also in all genres of editing. It’s important for us that all voices are represented.

How do you stay informed about emerging trends and developments within your field, and how has that helped support your peer group? 

My day-to-day focus is more on the creative side, rather than the technical side. Fortunately, there are many panels and events at the Television Academy and other organizations that offer information on the latest and greatest. There are also classes and panels that are offered at the Motion Picture Editors Guild that I’ll attend and recommend to my peers if it’s a subject they’ve expressed interest in.

What do you hope to accomplish for your peer group as a governor? 

Like my co-governor, I would love to see the addition of an editing category for animation in the Emmy competition. I would also love to shine a light on all the incredible artists in our industry and how they collaborate with one another. This would be done through a series of panels on the development process, the production process and post-production process focusing on how each of the departments collaborates with one another to bring everyone’s favorite shows to life. The artisans behind the scenes are often overlooked, but this would allow them to be in the spotlight and, hopefully, bring a deeper understanding of all aspects of the industry.

What do you like most about being a governor at the Television Academy?  

I’m proud of the things my co-governor and I have accomplished for our peer group, but my favorite part about being governor is the people. It’s been a pleasure meeting more members in the peer group through our social series “Waiting for Notes.” I’ve also enjoyed getting to know my fellow governors, the Television Academy officers and every single staff member that helps make this organization possible. The caliber of talent and kindness in the room has been incomparable, and their dedication has been unwavering. It’s been an honor to work alongside them in the service of our members as well as this organization.

Briefly describe what you do.

As a picture editor, I am the diplomat who creatively and technically bridges the director’s and producers’ visions with the raw footage and other assets to create cohesive and compelling stories for our audience.

What motivated you to become a governor? 

My longstanding involvement with the Peer Group Executive Committee, spanning over two decades, instilled a strong sense of duty to take on a more significant role. I saw an opportunity to continue important work initiated by past governors and felt a deep commitment to champion greater diversity and representation within our craft and peer group. This group is incredibly diverse — encompassing editors from multi-cam to single-cam, comedy to drama, reality to nonfiction, variety to animation — and its members are united by a dedication to serving everyone's story first. My goal was to ensure the Television Academy evolved to better mirror our part of the industry and elevate the stories we collectively tell.

What are some of your proudest accomplishments or credits? 

As a governor, the accomplishment I'm most proud of is fostering greater engagement and community within our peer group, a success achieved alongside my fellow governor, Nena. Our “Waiting for Notes” series has been instrumental, allowing us to hear from an unprecedented number of members and, in turn, make meaningful changes. Crucially, it has rebuilt a sense of community that had diminished during the Covid years, especially as the shift to remote work limited our opportunities to connect in person. This series has helped to offset that isolation.

As an editor, I haven’t a single accomplishment in my career of which I am the proudest, although winning an Emmy last year with the entire team of editors of The Voice is close, because I don’t want to feel as though my journey as an editor has been finalized. Every accomplishment can be the epitome of one’s career or the foundation to move even higher. At this point, I’d rather continue walking the path than sit on the side of the road.

How do you stay informed about emerging trends and developments within your field, and how has that helped support your peer group? 

Working on my show offers the unique advantage of collaborating with a large team of talented editors and assistant editors. Their work on other shows between seasons means they constantly bring fresh perspectives, new tech and innovative creative solutions that push our boundaries. This, along with regular interactions with editors at the Television Academy and “Waiting for Notes” events, immerses me in a dynamic information vortex. It's thanks to them that I remain up to date and understand what matters most to professionals in our field.

What do you hope to accomplish for your peer group as a governor? 

I would love to see the addition of an editing category for animation. Over the last several years, we have made a concerted effort to understand and welcome editors from that part of our craft. They are now an accepted screen credit for active membership as well as Emmy-eligible. I believe we have laid the foundation for proper representation within our peer group, which will eventually enable us to propose this new category and properly judge it in the future.

What do you like most about being a governor at the Television Academy? 

The highlight of my service as a governor is undoubtedly my fellow governors and the Television Academy officers. In my 35-plus years, I've been part of many remarkable creative teams, yet this one surpasses them all. It's inspiring to see how everyone, no matter what their station, crosses the threshold of the Governors Room committed to serving their peer group, their industry and the Television Academy. To work, create and build friendships with these industry leaders has been an honor I never anticipated.

Anything you would like to add? 

I want to extend my deepest gratitude to all the past and current members of our PGEC who have served us over the years. Both Nena and I rely heavily on their support, guidance, and leadership, as they admirably represent the diversity within our craft and peer group.

Each member has brought amazing insights to our table, which have profoundly enriched our collective sense of community, pride, and interaction within the peer group. It's truly special when you not only respect the people you work with but can also genuinely call them friends.