BIO / PRESS
Tracy Granger started out as an apprentice editor on the MGM and Burbank Studio lots before working her way up through the studio system as an assistant editor on films such as Michael Wadleigh's The Wolfen, Sydney Pollack’s The Electric Horseman, Joel Schumacher's The Lost Boys, Ivan Reitman’s Ghostbusters and Mike Figgus’s Internal Affairs.
Tracy has a keen interest in working on independent feature films as well as with first-time directors. Her films have received awards at Sundance, Cannes, New York, Deauville, Venice, Raindance, Seattle, Berlin and London Film Festivals.
Tracy’s first feature, Allison Anders’ Gas Food Lodging won the Critics’ Award at the Deauville Film Festival. She edited Kimberly Pierce’s Oscar winning Boys Don’t Cry, Michael Almereyda’s The Eternal, John Shea’s Southie (American Independent Award for Best Film, Seattle International Film Festival), Nick Gomez's Illtown (opening Film at the New York Film Festival), and New Jersey Drive produced by Spike Lee (Official competition: Sundance Film Festival), Chromophobia, directed by Martha Feinnes, which closed the 2007 Cannes Film Festival and Frank written and and directed by Richard Heslop (nominated for the Raindance Award BIFA 2012).
Her TV credits include being the lead editor on Wonderland for writer-director-producer Peter Berg and Brian Hensons’s Jack and the Beanstalk: The Real Story which won the 2002 Saturn Award for the Best Television series.
Tracy was born in Los Angeles. In 1990 she moved to New York City and finally to England in 2001, where she is still based. Her most current feature work can be seen in two recent independent feature films: Still Life, directed by Uberto Pasolini which won the Francesco Pasinetti Award for Best Film, Venice Film Festival 2013 and the BFI's Ray & Liz directed by the acclaimed photographer Richard Billingham, which premiers in 2018.
Tracy has 2 home AVID systems and holds both UK and USA passports. She is a member of ACE (American Cinema Editors), as well as a member of BAFTA and in 2017 she was invited to join the Academy of Motion Picture Arts and Sciences.
Tracy's focus now is to help women film-makers learn their craft and get their films made.
Tracy's letter to the Academy of Motion Picture Arts and Sciences