Fredrik Thorsen
Vancouver-based film editor with 30+ years of experience across features, documentaries, series, etc.; known for effective collaboration and finding the emotional core in all genres, whether shaping nuanced scripted performances or distilling it from hours of unscripted footage.
Selected Work
Selected Credits
Complete credits on IMDbThe Bearded Girl
LatestEditor
Goodbye Productions
2026
Wayfinders
Editor
Angel Studios
2025-26
Dead Shack
Editor
Goodbye Productions
2017
Awards
Leo Award
Best Editor, Feature Film · Stone of Destiny
Winner
2009
Leo Award
Best Editor, Feature Film · Dead Shack
Nominee
2018
Leo Award
Best Editor, Feature Film · Sitting on the Edge of Marlene
Nominee
2014
48 Hour Film Fest
Best Editor · Look
Recognition
Leo Award
Best Doc · Making of Snow Walker
Nominee
World Festival of Short Films
Palme D’Or · Wake Linda
Recognition
About
I got my start back when we were swapping floppy disks, running my own boutique facility called Comet Post Production in Yaletown, Vancouver.
Over the years, I’ve worked with indie directors, seasoned Hollywood pros, and many in between. I’m especially drawn to projects where story and subtlety matter, whether that’s shaping a scripted scene or mining hours of unscripted footage to find the emotional core.
I've enjoyed being brought in as a fresh set of eyes when a project needs a final push or when timelines get tight. I take pride in jumping in respectfully and helping elevate the work that’s already been done,. always with the story front and center.
I got my start back when we were swapping floppy disks, running my own boutique facility called Comet Post Production in Yaletown, Vancouver.
Over the years, I’ve worked with indie directors, seasoned Hollywood pros, and many in between. I’m especially drawn to projects where story and subtlety matter, whether that’s shaping a scripted scene or mining hours of unscripted footage to find the emotional core.
I've enjoyed being brought in as a fresh set of eyes when a project needs a final push or when timelines get tight. I take pride in jumping in respectfully and helping elevate the work that’s already been done,. always with the story front and center.
Outside the suite, I’ve helped mentor over 1,000 at-risk youth through filmmaking, something that’s taught me just as much as it’s given back. It’s strengthened my ability to communicate clearly, navigate different personalities with care, and stay calm under pressure. All skills that have carried directly into the edit room.
While editing remains my core focus, I’m also committed to helping the next generation of storytellers find their voice, especially those who haven’t always had access to the tools or training. Sharing what I’ve learned over the years is a natural extension of the collaborative spirit that drives my work.
I also have a long-standing passion for photography, which I’ve found to be a great way to refine my eye and stay grounded in visual storytelling, even outside the edit suite.
Process
“What makes or breaks a story in the edit suite is often the accumulation of very small choices: when to cut, when not to cut, which performance to stay with, and whether you’re really listening to what the material wants to be. A story can also live or die not only by the choices made in the edit, but by how well the editor understands and adapts to a director’s way of working, so the creative and working language in the room stays aligned.”
“I see the script as a stepping stone, but once you’re in the edit, the footage becomes the real source of truth. If the material is telling you a stronger or more honest story than the page did, you follow the material.”