'...it’s the plentiful on-board material, excitingly structured and paced by doc veteran Holmes with editor Katie Bryer, that lends “Maiden” great immediacy, suspense, and rooting value'

Dennis Harvey reviews ‘Maiden’, Variety

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'Sportsmanship seems tailor-made for documentary exploration; the highs and lows of physical endeavour

being obvious narrative beats.

The skill, however, comes in placing these stories in a wider context, without detracting from the achievements on screen. Editor Katie Bryer cuts Maiden in such a way'

Nikki Baughan, BFI, 'In Praise of the Unsung

Art of Documentary Editing'

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'But the power of the film is truly in the editing...

When you are ready to throw in the towel and write off humanity as a scourge, “The Contestant” shifts into something beautiful.'

Charles Barfield, The Playlist

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'By editing the original A Life in Prizes footage, and stripping away its frills, Titley’s film allows the audience to truly feel the depth of torture Nasubi was enduring.'

Courtney Small reviews 'The Contestant', POV

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'...what distinguishes the documentary apart from its countless genre-mates is the pacing, which is constructed in a sleek, flawless fashion and blurs by without an inkling of a dull moment. The film is distinctly barebones with hardly a minute wasted.'

Jonathan Christian reviews ‘Maiden’, The Playlist

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'I had the support of the most wonderful editor, Katie Bryer, and I just want to work with her again and again. She cut the film beautifully, and she was my collaborator every step of the journey.'

Alex Holmes, director of Oscar shortlisted ‘Maiden’

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“Katie was a vital part of this project from day one. She has a fantastic sense of story and a strong sensitivity when it comes to dealing with difficult issues and vulnerable protagonists. Virunga would not have turned into the film it did without Katie’s input throughout the filmmaking process”
Orlando von Einsiedel, director of Oscar nominated ‘Virunga’

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“She has a great eye for story and for detail, and often editors can only see one, not the other. Editing is a conversation – with the Director and with the audience, and Katie is one of the world’s great conversationalists. She will completely and utterly commit to your project and make it better than you could have ever hoped.”

Jon Drever, director of ‘SuperBob’