Carroll Chiramel is an Indo-Canadian editor and filmmaker and an alumnus of the 2022 Norman Jewison Film Program. With a passion for creativity from a young age and enlightened by his love for Malayalam films, Carroll kickstarted his career in the Indian film industry in 1999, working as an assistant film editor in Mumbai. He went on to migrate to Toronto, where he completed the Advanced Television and Film (ATVF) program at Sheridan College.
Throughout his career spanning over two decades, Carroll has worked with filmmakers across the globe on diverse projects and in multiple languages. His approach to editing has evolved to include a blend of both Indian and international cinemas. Carroll has worked on numerous award-winning feature films, short films, and television series. Notable editing credits include feature film Under the Same Sun and short films Forbidden Tikka Masala and Meet the Parents, which have racked up accolades screening at various film festivals worldwide. Forbidden Tikka Masala had an incredible run, achieving 5 wins at festivals across North America, including Best Comedy Short at the 2019 Toronto Short Film Festival.
This August, we sat down with Carroll to discuss his career journey and what’s next for the talented filmmaker. Read more in the spotlight below.
Taking it back to the beginning, what inspired you to pursue a career in filmmaking/editing?
I was always inclined to creativity, especially in fine arts, from a very young age, but I found my calling in filmmaking. Growing up in India, I was immersed in Malayalam cinema, which is renowned as one of the finest in world cinema and has influenced me a lot besides having the dominance of Bollywood. Malayalam films offer a unique mix of simple, thought-provoking narratives and highly entertaining content. One of the key lessons I learned from experienced filmmakers is that excelling in editing is a crucial step toward becoming a director, which is why I chose this path. As an editor, you play a role similar to that of a second writer in shaping the story.
You started your career in the Indian film industry before migrating to Toronto. Did you face any challenges while transitioning from Indian cinema to international projects?
Though I had 8-10 years of film and TV experience working in the Indian film industry and in the Middle East since 2000, to work in the Canadian film industry, I was told that I lacked Canadian film experience. So, I returned to film school at Sheridan to complete the Advanced Television and Film (ATVF) program. Following that, I worked on various projects, often for little or no pay, to gain valuable experience. Additionally, it got me connected with very talented filmmakers. Before that, I had also volunteered for CFC in 2011 in one of their short films, filmed on 35mm film, which gave me an overview of how the Canadian film industry works.
2024 CCE Awards
How would you describe your editing process? How has working in both the Indian and Canadian film industries shaped your approach to editing?
As an editor, I see myself as a contributor to the creative process while being critical but at the same time focusing on the director’s vision. Also, I sense how the film drives me emotionally, and that’s where my audience gets invested and makes it worth watching. Working in both industries has been highly beneficial for me. While the basic principles of storytelling are similar, Indian stories are deeply influenced by culture, region, and language. This cultural context leads to a slightly different approach to storytelling compared to Canadian stories, which in turn influences my editing style. I do try to bring my Indian creativity mindset to some of the Canadian projects, depending on the requirements.
How important is it to work with diverse filmmakers and incorporate diverse perspectives when editing a project?
Today, the language of cinema is diverse, unlike before, when we used to watch films or television series that were locally produced. With streaming platforms, audiences now have the opportunity to watch films from around the world. Similarly, as filmmakers, we strive to bring something fresh to the table, and showcasing diversity through authentic representation is one of the best ways to achieve that. As seen today, with Canada’s increasing diverse population, it needs locally produced, diverse content to bring a fresh perspective to the industry. When I work with diverse filmmakers, there are lots of exchanges happening in the edit room, and it brings a new outlook and approach.
You recently wrapped up editing on the TV series Potluck Ladies. How was your experience working on that series? Are there any key learnings or favourite moments you took away from it?
Potluck Ladies was a playground for me. I truly enjoyed editing this project as well as working with my longtime collaborator director and showrunner Shazia Javed and my good friend, co-writer, and CFC alumni Rahul Chaturvedi. As a male editor, I found it intriguing to approach a story centred around a group of South Asian women. Hence, the fact that the show was women-centric was particularly interesting for me because of its exploration of themes like immigrant families, friendships, and complex relationships. The key learning that I grasped when editing this series was the ability to balance drama and moments of comedy while highlighting the diverse and intriguing female characters. Some of my favourite moments working on the series were when my wife, who is very discerning and selective when it comes to films and series, watched the editor’s cut and praised it as a great show. Additionally, after the first screening, the actors, cinematographer, and crew members complimented my edit, noting that I kept the right kind of moments of each character with just the right timing to both impact the audience and advance the story without losing the emotion. Last but not least, the highlight was when the series won Best Drama Series at the SeriesFest in Denver. Potluck Ladies is available on Hollywood Suite via Amazon Prime and Yes TV.
Can you share a memorable experience from your time in the Norman Jewison Film Program?
When I got selected for the program in 2022, I was thrilled, and it was a goal that I had for the last 10 years that was finally fulfilled. There are several great experiences, including connecting with fellow editors and the rest of the cohorts from producers’, writers’, and directors’ lab programs, interacting with mentors and CFC staff, and enjoying the stunning view from my edit room. But to pick the most memorable one, it has to be the Zoom meeting with Elísabet Ronaldsdóttir, ACE, one of the best editors from the Hollywood industry, a master in editing action films with credits such as John Wick, Deadpool, Bullet Train, and Fall Guy, to name a few. She was like a light radiating her positive energy through the screen, sharing her experiences and wisdom.
Carroll in the Edit Suite at Orange Spot Productions
Walking out of the CFC, how did your experience as a resident of the Editors’ Lab impact your career?
Being a resident of the Editors’ Lab had a profound impact on me, as I felt honoured to be part of such a distinguished group of Canadian editors. Yes, it has taken a bit of time to get mainstream projects, but fortunately with fellow CFC producers and directors, I could collaborate with them. In the future, I look forward to continuing the legacy of CFC as a South Asian Canadian filmmaker and to many more opportunities ahead.
The 2024 Norman Jewison Film Program is currently underway. Do you have any words of advice for the new cohort of residents?
To enjoy and explore the possibilities, build great friendships with fellow cohorts, and make the best out of the opportunity. If you have fellow filmmakers from different cultures, try getting to understand them, and you will be surprised by that side of the world and their cinema. With mentors, absorb in all their knowledge and wisdom and apply their insights to refine your craft.
Looking back on your career, is there any project that stands out to you that you’re particularly proud of?
One project that stands out to me was my first feature film that I edited in Canada in 2012, Under the Same Sun, directed by Indo-Canadian filmmaker Mitra Sen, starring CFC alumni Vipin Sharma. The story, set in India, centred around children and was filmed in the stunning landscapes of Rajasthan, featuring deserts and forts. I am particularly proud of this film, as it went on to win a few prestigious awards at film festivals.
What’s next for you? Are there any exciting projects you’re currently working on?
My latest project is an animatronics children’s TV series called GoTogo that will be airing on CBC Kids and CBC Gem in this fall. It was created by showrunners Justin Lee and Lindsay Lee and produced by CFC alumni Bonnie Do. This project was a novel experience for me, as I had never edited a children’s television series before, which is why it allowed me to enjoy the work while simultaneously learning and growing in my craft.
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