Gordon Rempel

Gordon Rempel is a respected film and television editor with numerous credits on American, Canadian and International films and television programs. Whether he’s behind the keyboard of his piano, or the keyboard of his editing system, he knows it’s his job to keep things moving and shaking.
Selected Work
Selected Credits
Complete credits on IMDbOff Campus
LatestEditor
Prime
2026
Family Law
Editor
CW/Global
2025
Allegiance
Editor
CBC/CW
2025
Monster High - The Movie
Editor
Paramount+/Nickelodeon
2022
Gabby Duran and the Unsittables
Editor
Disney
2021
Upside-Down Magic
Editor
Disney
2020
Bletchley Circle: San Francisco
Editor
2018
Somewhere Between
Editor
ABC
2017
Strange Empire
Editor
CBC/Lifetime
2015
Life As We Know It
Editor
ABC
2005
Touching Evil
Editor
USA network
2004
Andromeda
Editor
Tribune Entertainment
2003
Awards
Leo Award
Upside-Down Magic
Winner
2021
Leo Award
Violet
Winner
2023
Leo, Gemini and CCE Awards
Nominee
About
Gordon Rempel is a respected film and television editor with numerous credits on American, Canadian and International films and television programs.
Once upon a time, Gordon was "that guy who worked at the video store", devouring every frame in the films on the shelves. As a musician, he learned that it's tempo and rhythm that move people. For Gordon, editing captures the essential elements of both those loves.
He has worked with many esteemed Directors and Producers including Todd Holland, Silver Tree, John Landis, Allen Hughes (the Hughes brothers), Michael Engler, Tim Matheson, Mel Damski, Norma Bailey, Gary Harvey, Anne Wheeler, Martin Wood, Peter Delouise, Amanda Tapping and Sam Egan.
Gordon Rempel is a respected film and television editor with numerous credits on American, Canadian and International films and television programs.
Once upon a time, Gordon was "that guy who worked at the video store", devouring every frame in the films on the shelves. As a musician, he learned that it's tempo and rhythm that move people. For Gordon, editing captures the essential elements of both those loves.
He has worked with many esteemed Directors and Producers including Todd Holland, Silver Tree, John Landis, Allen Hughes (the Hughes brothers), Michael Engler, Tim Matheson, Mel Damski, Norma Bailey, Gary Harvey, Anne Wheeler, Martin Wood, Peter Delouise, Amanda Tapping and Sam Egan. He has worked on film and television productions for Amazon Prime, CBC, CTV, GlobalTV, Disney, Nickelodeon, ABC, USA Network, SyFy, SPACE, ITV, Lifetime, HUB, YTV, OWN, ION, Tribune, Hallmark, Stars, Movie Central, MTV, Viacom Lionsgate, E1 and Paramount and P+.
He was awarded a Leo award for editing Disney's Upside-down Magic and for the experimental dance performance piece Violet and has been nominated for multiple Gemini, Leo and CCE awards for his work on the Canadian dramatic series Strange Empire, Primeval: New World, Romeo Killer, Sanctuary (all 4 seasons), Whistler, She Made Them Do It, The Weather Girl, Andromeda and more.
Gordon produced, edited and scored his wife, Carleen Kyle's passionate project documentary Heavy Heart Laughs. They've also collaborated on the short films The Weather Girl, Brazen Berry and Push Start as well as multiple music videos through their company Lotsa Pictures Inc.
As a musician, Gordon has performed and recorded with The Vanrays, Big Top, The Beladeans and other groups on Electric Piano and Organ.
Whether he's behind the keyboard of his piano, or the keyboard of his editing system, he knows it's his job to keep things moving and shaking.
Gordon sees himself as a very lucky guy to make his living as a creative person.
Gordon Rempel is represented by Barbara J. Bird of The Characters talent agency.
Process
“Communication is the key to making every story come to life. Editor, Directors and Producers all have to be in sync in order for the story to complete its journey from the stage to the screen.”
“It is often said that the edit is the final version of the script. Regardless of what was written, it is the duty of the editor to make sure the director and producers are able to find this final draft through the exploration of the footage.”