01
DANIEL
1,500 hours. One life.
Constructed an intimate, emotionally coherent film from a lifetime of footage recorded across 42 countries—without letting the ending overwhelm the life that came before it.
BBureau of Human Affairs
Personnel Division · Philadelphia
Personnel File 001 · Available for Assignment
The
Editor.
The invisible conversion of volume into meaning.
HBONetflixCannes Official SelectionGolden Eye Nominee20+ Years in the Edit
Bureau Assessment
An editor for the moment when footage must become a film.
Jon Connor turns overwhelming material into emotionally legible stories.
Across more than two decades, his work has moved between intimate personal archive, global financial crime, political portraiture, live performance, sports history, and narrative suspense. The genres change. The editorial preoccupation does not: who is the human being inside the machinery of the story—and what must an audience feel before it can fully understand what happened?
Selected Evidence
Not credits.
Problems solved.
02
MAN ON THE RUN
Billions stolen. A story scattered across the world.
Turned a dense global financial scandal into a propulsive human narrative—controlling exposition, character, outrage, and forward motion at feature length.
03
NEW WORLDS
One night. Four performers. No second take.
Transformed a live performance with Bill Murray at the Acropolis into cinema while preserving musical continuity, spontaneity, place, and the emotional experience of the room.
Operating Principle
Meaning
before motion.
A cut can move the story forward without moving the audience closer. The work is not speed for its own sake. It is identifying what the scene changes—then allowing the viewer to experience that change.
Connor finds the emotional contract of a film, locates the character inside the subject, and gives raw material the shape of memory rather than the shape of information.
Recommended Deployment
Bring him in when...
Large archives, multiple timelines, sprawling interviews, or material accumulated before a definitive structure existed.
The facts are present. The emotional carrier—the person who makes those facts matter—has not yet been found.
Scenes are in order, but the audience is no longer discovering. The film needs architecture, not cosmetic pacing.
Fame, politics, sport, illness, money, or history threatens to bury the private human truth.
An editor willing to protect the film, challenge its assumptions, and build the answer together in the room.
A story involving memory, grief, access, or complicated ownership needs judgment—not just technique.
Confidential Assignment Inquiry
The evidence supports a conversation.
If you have a film buried inside the footage, describe the assignment. All inquiries are treated as confidential.