Terel Gibson, ACE, is an American film and television editor. Gibson has held primary editing roles on several high-profile feature films, including the satirical dark comedy Sorry to Bother You (2018), the thriller Ready or Not (2019), the poignant biographical drama The Last Full Measure (2020), and the comedy-drama Mr. Roosevelt (2017), among others. His feature credits also include The Road Within (2014), We Are Your Friends (2015), The Ballad of Lefty Brown (2017), Girlfriend’s Day (2017), and All Nighter (2017).
Born and based in Los Angeles, Gibson is a graduate of Emory University and… Terel Gibson, ACE, is an American film and television editor. Gibson has held primary editing roles on several high-profile feature films, including the satirical dark comedy Sorry to Bother You (2018), the thriller Ready or Not (2019), the poignant biographical drama The Last Full Measure (2020), and the comedy-drama Mr. Roosevelt (2017), among others. His feature credits also include The Road Within (2014), We Are Your Friends (2015), The Ballad of Lefty Brown (2017), Girlfriend’s Day (2017), and All Nighter (2017).
Born and based in Los Angeles, Gibson is a graduate of Emory University and built his filmmaking foundation through roles as assistant editor on films like Spanglish (2004), Little Miss Sunshine (2006), Pride and Glory (2008) and Orphan (2009), under the guidance of lead editors such as Pamela Martin and Lisa Zeno Churgin. He often credits his mentors, including Lisa Churgin and Pam Martin, for shaping both his creative approach and professional ethos.
In television, Gibson has worked on notable television series, including Marvel Studios’ Hawkeye (2021), where he served as editor on episodes “Never Meet Your Heroes” and “Hide and Seek”. He has also edited projects like Safety and Think Like a Dog (2020).
In a February 2021 profile for the Motion Picture Editors Guild’s “Cut to Black” series, Gibson reflected on early cinematic influences such as Alfred Hitchcock’s Rear Window and the PBS documentary Eyes on the Prize, which helped ignite his passion for storytelling and editing. He expressed a steadfast belief that “it’s not just how you start, it’s how you finish,” a tenet he attributes to Lisa Churgin and carries with him through each project. Remembering his earliest on-camera appearance, he recounted a small acting moment in Jonathan Demme’s Beloved before realising that his true calling lay behind the editing suite.More
