Motion Picture Editors Guild
Garrett Gilchrist is a seasoned professional in the film and animation industry with extensive experience since 1996. Currently serving as a Staff Writer for Cinemontage, The Editors Guild Magazine at the Motion Picture Editors Guild, Garrett has conducted interviews with editors of numerous notable films and TV shows, including Dexter, Iron Man 3, and Tarantino’s Inglourious Basterds. Additionally, Garrett holds the position of Editor and Chief Film Restorationist for The Thief and the Cobbler: Recobbled Cut and the Richard Williams Animation Archive, where restoration efforts are focused on Richard Williams' unfinished masterpiece. As the owner of Orange Cow Productions, Garrett engages in a diverse range of creative roles, including graphic artist, writer, and animator. Educationally, Garrett earned a B.A. in Cinema-Television (Production) from the University of Southern California.
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Motion Picture Editors Guild
MPEG negotiates new collective bargaining agreements (union contracts) and enforces existing agreements with employers involved in post-production. We provide assistance for securing better conditions, including but not limited to financial (better pay), medical (better health insurance), safety (turnaround time) and artistic concerns (assignment of credit). As Local 700 of the International Alliance of Theatrical Stage Employees (IATSE), an international union over 100 years old, we are allied with some 375 affiliated locals in the United States and Canada. This strength increases our collective power at the bargaining table and results in better contracts with superior benefits. When you join the Motion Picture Editors Guild, you are also becoming a part of a larger entity, the International Alliance of Theatrical Stage Employees, Moving Pictures Technicians and Allied Crafts of the United States, Its Territories and Canada (IATSE). You are joining an organization that is over 140,000 members strong! The primary job of the IATSE (www.iatse-intl.org) is to negotiate the contracts under which we all work and to protect our safety and well-being from employer exploitation. The Union also provides a means of receiving pensions and continuous healthcare, despite working for a variety of employers. This is a rarity in a freelance industry such as ours, and we are fortunate to have well-funded pension and health plans which have among the best benefits to be found anywhere in the country. While corporation health and pension plans are rapidly disappearing, the Motion Picture Industry Pension and Health Plans and the IATSE National Benefit Funds remain solvent and strong due to the diligent commitment of the IATSE and its Locals.