Setting the Tempo in Rome
I was in Rome this week to attend the annual general assembly of TEMPO, a federation that connects associations of film editors from around the world.
It’s mid-November, and I’m sitting in a warm, sunny courtyard in Rome, surrounded by editors, sipping a deep red Primitivo and eating lasagna. As lovely as spilling out onto the cold, wet streets of Soho with a pint from The Toucan on a Thursday night can be, it’s hard to imagine a better place to geek out on craft than here.
TEMPO General Assembly in Rome
I was in Rome this week (last weekend, to be precise, flying in on Friday and out on Sunday night) to attend the general assembly of TEMPO. Established in 2019, TEMPO is a federation that connects associations of film editors worldwide. As a member of both British Film Editors and the Irish Screen Editors—and a committee member for the Irish Screen Editors—I’ve had a wonderful experience representing Ireland, the United Kingdom, and assistant editors everywhere within these groups.
The general assembly, held annually, provides member countries an opportunity to come together, both in person and online, to discuss the organisation’s achievements over the past year. It’s also a fantastic chance for professionals worldwide to mingle, share experiences, and exchange ideas. Whether it’s debating AI with editors from Brazil, swapping post-production tips with colleagues from Canada, or lamenting Avid’s title tool with editors from the Netherlands, the assembly is much more than a typical annual meeting.
This year’s assembly, hosted by AME Italy, included some memorable events—such as delicious meals and side activities, a studio tour of the historic Cinecittà studios (which I sadly missed), and a masterclass with Cristiano Travaglioli, Roberto Perpignani, and Camilla Toniolo. Skillfully moderated by Ireland’s Eoin McDonagh, the masterclass covered everything from assisting Orson Welles and editing for Bertolucci, the dreams of sound designers at the end of Living in Oblivion, and the influence of Goodfellas on the editing style of Il Divo.
The History of Guilds and Other Editor’s Representative Bodies
The American Cinema Editors (ACE) is perhaps the most high-profile organisation for editors and was established in 1950. ACE is best known for its annual Eddie Awards, which honour outstanding editing in both film and television, highlighting the editor’s critical role in shaping visual storytelling. Membership is by invitation only and is extended to accomplished editors who have made significant contributions to the industry. Having "ACE" after one’s name is still regarded as a mark of distinction.
ACE offers valuable resources to its members and the broader editing community. This year, it hosted its EditFest remotely but also saw great success with EditFest Global, co-organised with TEMPO, which featured a diverse array of panels and breakout rooms for participants.
The British Film Editors (BFE) has also gained prominence in recent years, especially through its annual Cut Above Awards. The BFE’s award show has become increasingly significant as the UK takes on a larger role in global film and television production. The organisation hosts numerous events and screenings, with its virtual "Glass of Wine" series providing a platform for both British and international talent.
The Irish Screen Editors (ISE) is a young but influential guild with around 150 members, representing Irish editors both in Ireland and abroad. Over the last few years we have worked to help promote and represent Irish editors both in Ireland and abroad. We also publish a magazine, Assembled, free for all.
Also relatively new, TEMPO was founded five years ago after conversations at the IFEF EditMotion Film Festival in 2019 highlighted the need for a dedicated editor’s network. TEMPO was envisioned as a global platform for community, advocacy, and resources. Since its inception, TEMPO has established a forum where editors from around the world can connect and exchange ideas, developed training programs, and advocated for editors on a global scale.
The Importance of Organisations, Guilds, Unions, and Representative Bodies
Whether it’s TEMPO, ACE, BFE, ISE, unions like BECTU, or representative organisations like Stitch and Bitch in the UK, it’s encouraging to have bodies that actively support and advocate for professionals in our industry. One interesting example of how the advocacy resonates not just for editors but for everyone is that I recently spoke with a producer who appreciates the BECTU rate card, which simplifies the hiring process for editors and assistants by providing a clear guide and starting point for pay discussions, reducing stress for both employers and freelancers. Having allowed these conversations on pay to take place more openly has been a help to both editors and producers alike.
As someone involved in two of these organisations, I want to highlight that these groups often rely heavily on a few loyal and dedicated individuals. I don’t include myself among them—I contribute when I can—but there are a handful of busy, accomplished editors who devote a lot of their valuable free time, often without compensation, to advocate for and support others in the field.
The Importance of Representing Assistant Editors within These Organisations
As one of the assistant editors involved with TEMPO, I’ve taken it upon myself to emphasise the role and value of assistant editors in any conversations about editing. For many editors, having an assistant is a luxury, and many assistants aspire to move up as quickly as possible, so it’s as important to educate editors to the advantages that a bigger team can bring, as well as the greater industry to the assistant editors role in an efficiently run production.
On a personal note it was great to see so many editors and assistant editors in Rome who read Out of Sync and share it with their teams. It is very nice when people from France to Canada come over to say hello and that they read the newsletter. I don’t think that I’m at Kylie Jenner or Amelia Dimoldenberg levels of fame quite just yet but it’s nice to know that people are liking and sharing.