With the 2025 TV BAFTAs just behind us, you might expect it to be a time of celebration for everyone. But for TV accolades nominated editor Katie Bryers, it’s not about the glitz and glam, she credits her love for the editing industry in her own, authentic way.
Having edited BAFTA and Oscar nominated projects, you would think these accolades were the glistening pinnacle of documentary editor, Katie Bryer’s career. Well… you could not be more wrong.
“You know, the whole awards thing, I’ve been involved in the whole awards process and the enjoyment you get from it can’t come close to making the documentaries.”
This year, Katie edited the Netflix documentary ‘You Are Not Alone’, which was nominated at this year’s TV BAFTAS. But even standing on a major stage, she’s quick to admit the glamour isn’t all that.
“In a way you feel silly, if I told my 18 year old self, the TV addict with not too much idea where she would end up in this industry, that I’d be here, she would have been so excited.
“But in reality, they’re nowhere near as fun as you would think. You’re going to have to talk to everyone, and you are all so on edge there’s no chance to relax or party. Even as an extrovert, there is no chance my social battery can handle all that!”
It’s not just about the accolades:
For Katie, the real magic of filmmaking lies far from the red carpet.
“Actually, the most fun I have is sitting in the editing suite, with a great director, going over the best ways to tell a story.
“If you’re getting into the industry just for the accolades, then this job is going to disappoint you. As nice as it is to receive recognition, the real reward is finding satisfaction and pride in the products you produce, no matter how unglamour those roles can sometimes be.”
A fifteen-year veteran editor, Katie has sharpened her craft across the industry’s full spectrum, from gripping documentaries about four indigenous children stranded in the Colombian Amazon to hilarious rom-coms about a man who gains superpowers after an asteroid strike.
“My dreams weren’t fulfilled for a very long time and it was a couple of nominations that solved it. It was all about the people I worked with, and made friends with, some of whom I’m still working with to this day. I think you have to check yourself and realise why you want to be doing this.
The opportunities that come with the job:
Her career has also included projects with high profile names like Brett Goldstein, but Katie insists the most valuable moments weren’t on stage, they were behind the scenes.
“I’ve had the chance to work on incredible films, aired around the world, and I didn’t even have to do one awkward meet-and-greet at an awards ceremony to achieve that.”
It’s opportunities like this which keep Katie hopeful the next generation will see potential in the editing industry and be inspired to carve their own path—one built on creativity, resilience, and a genuine love for storytelling.
“Editing is such a brilliant industry. We’re living in a world, dominated by freelance jobs and opportunities. Work for positions like directors isn’t always the easiest to come by.
“Each feature length documentary I work on is a minimum of six months of guaranteed work. Even with the threat of AI, I really believe that we’re always going to prioritise watching content created and told by humans. It’s the human condition.”
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