Art of the Cut

Today on Art of the Cut, we're speaking with the editorial team of Sirens. With us are Editors Catherine Haight, ACE, Laura Zempel, ACE, and Isaac Hagy, ACE. Jen Bryson is also credited as an editor on the show, but wasn't with us for the interview.Cate has been nominated for an Emmy and an ACE Eddie for her editing of the pilot of the TV series Transparent. She also was nominated for an ACE Eddie for the pilot of Girls. She also edited the TV series High Fidelity and feature films like The Good House and Puzzle.Laura has been on Art of the Cut several times for the TV series Beef for which she won an Emmy and an ACE Eddie, Euphoria, for which she was nominated for an ACE Eddie. She also edited Lessons in Chemistry.Isaac has been nominated for an Emmy and an ACE Eddie for the TV series Mr. And Mrs. Smith, won a Peabody Award and was nominated for an Emmy and an ACE Eddie for the TV series Atlanta.You can read along with this interview and see great additional video and images on the BorisFX blog:borisfx.com/blog/aotc

Today on Art of the Cut, we're speaking with the editorial team of Daredevil Born Again. With us are Emmy-winning editor Stephanie Filo, ACE, Melissa Lawson Chueng, and Cedric Nairn-Smith.Stephanie has been on Art of the Cut to talk about her work on the film We Grown Now. And before that to discuss her Emmy and ACE-winning work on A Black Lady Sketch Show, her Emmy-nominated work on Dahmer: Monster - the Jeffrey Dahmer Story and History of the World Part II. Stephanie has also won an Emmy and a Peabody Award for her documentary editing work.Melissa has been on Art of the Cut before for her editing of the film Mile 22, and for the TV series Outlander. She also edited the series Mr. Robot. Cedric was an editor on Moon Knight and The Boys.This discussion includes the power of sound design, the benefits of having an assistant editor who's a great vocal impersonator, and when to start a scene on a close-up instead of on an establishing shot.You can read along with this interview and see trailers, clips, exclusive photos and timeline screenshots at the BorisFX blog!borisfx.com/blog/aotc

Today on Art of the Cut, we're speaking with the editorial team of Beast Games. Including lead editor, Mack Hopkins,  Nolan Ritter, Charles Kramer, ACE, Beast post supervisor Joshua Kulic, on-line post supervisor Lydiane Heckly.Mack Hopkins is lead editor, co-host, and co-creator of Beast Games. Nolan Ritter is a senior editor at the MrBeast YouTube channel in addition to his editing of Beast Games. He was also an editor on the upcoming series “The Larry David Story.”Charles Kramer, ACE, is an Emmy-nominated editor of such shows as The Voice, The Osbourne's, Project Greenlight and Big Brother.Joshua Kulic is the Post Production supervisor and Executive Producer on Beast Games and MrBeast. His other TV work includes World of Waves and What Drives You.Lydiane Heckly was a post production supervisor on Sneaker WarsL Adidas vs Puma, Pretty Baby: Brooke Shields, and History's Crazy Rich Ancients. This discussion includes how to coordinate the creative vision of more than 20 editors and 22 assistant editors, the role of probability when dealing with 1000 contestants and more than 1000 cameras, and the key ingredient in the Mr. Beast editorial style.You can read along with this interview and see trailers, clips and exclusive images on the BorisFX blog:borisfx.com/blog/aotc

Today on Art of the Cut, we speak with the lead editor, David Palmer, and two additional editors, Sierra Neal and Jason Summers, about the Disney +/Amblin Television documentary, Music by John Williams.David Palmer edited The History of the World… for now…, The Making of Close Encounters of the Third Kind, The Music of Indiana Jones, The Light and Magic of Indiana Jones, and The Making of Jaws.Sierra Neal has been on Art of the Cut several times, including for Jim Henson: Idea Man, and Ron Howard's Pavarotti. She also edited Guns N' Roses: Live in New York and was an additional editor on the documentary, Carlos.Jason Summers edited 40 Years of E.T. The Extra-Terrestrial, Schindler's List: 25 Years Later, The Fabelmans: A Family in Film, and The World of Jurassic Park.This discussion includes delivering a 90 minute first cut in under 2 months, the difficulties of dealing with licensed music and films, and the painful power of killing a fantastic story beat.You can read along with this podcast on the BorisFX blog site! See clips, trailers and exclusive photos along with the transcribed text.borisfx.com/blog/aotc

Today on Art of the Cut, ACE Eddie-nominee Angela Catanzaro, ACE, and ACE Eddie-winner Harry Yoon, ACE discuss editing the latest entry into the Marvel Cinematic Universe, Thunderbolts*.Angela's been on Art of the Cut before for Prey, The Protege, and Five Feet Apart. She also edited The Foreigner.Harry's been on Art of the Cut in the past for The Fire Inside, Shang-Chi and the Legend of the Ten Rings, Minari, The Best of Enemies, Detroit, and for the TV series Beef. This discussion includes the benefits and drawbacks of editing on set,  why this was a rare VFX-heavy movie with no previs, and how to prep your assistant editors to be ready to step into the chair.You can also read along with the podcast on the Boris FX blog site to see exclusive on-set photos of the editors, clips, trailers and timeline screenshots.borisfx.com/blog/aotc

Today on Art of the Cut we're speaking with Oscar-nominee Richard Pearson, ACE, about editing The Accountant 2. Richard's been on Art of the Cut several times in the past for the original The Accountant film, also for Wonder Woman 1984, and Kong: Skull Island. Richard's also worked on Men in Black 2, and the Bond movie, Quantum of Solace. He was nominated for an Oscar and an ACE Eddie and won a BAFTA for United 93. He was also nominated for an ACE Eddie and an Emmy for From the Earth to the Moon.This discussion includes the use of invisible split-screens to craft pacing, developing montages, and the keys to editing a good action scene - of which, this movie has plenty of great examples.If you'd like to see images and clips and trailers from the movie and from the editor, please check out the BorisFX blog:borisfx.com/blog/aotc

Today on Art of the Cut we speak with Michael Shawver about editing Ryan Coogler's feature film, Sinners.Michael's been on Art of the Cut in the past for his work on Black Panther. His other work includes Abigail, A Quiet Place 2, Creed, and Fruitvale Station. This discussion includes - among other things - how the first scripted scene ended up in act 2 while the last scene ended up as the first scene, how therapy can turn you into a better editor, and the artistic challenges of one actor playing two parts.You can read along with this interview and see stills from the movie, clips and trailers on the BorisFX blog of the same name:borisfx.com/blog/aotc

Today on Art of the Cut we speak with the editing team of the HBO series Dune Prophecy.Amelia Allwarden, ACE has been on Art of the Cut in the past for Daisy Jones and the Six and Pen15. She also edited Westworld.Anna Hauger, ACE has been on Art of the Cut before for Three Body Problem. She's also edited Westworld, Station 11 and Watchmen.Sarah C. Reeves, ACE has edited Westworld, Star Trek Picard, Gotham and The Walking Dead.Mark Hartzell, ACE has edited The Last of Us, True Blood and Monarch: Legacy of Monsters.This discussion includes - among other things - mentorship, how an assistant editor can show they're ready to be elevated to “the chair” and how editing is best when it's iterative.You can read along with this podcast and see images, clips and trailers on the BORISFX blog:borisfx.com/blog/aotc

Today on Art of the Cut we speak with Robin Peters about the film The Penguin Lesons. Robin was nominated for a BFE Cut Above Award for Best Edited Comedy Series for This Time with Alan Partridge. He's also edited the film Benjamin and the TV series One Day. He was an additional editor on The Personal History of David Copperfield.This discussion includes - among other things - the difficulties of temping music on a film with comedy and pathos, how the theme affects editing choices, and the importance of sending the audience out of the theater on the correct note.You can read along with this podcast on the Boris FX blog to see timeline screenshots, stills, exclusive images and clips and trailers:borisfx.com/blog/aotc

Today on Art of the Cut we speak with Julia Grove, ACE, Howard Leder, and Lai-San Ho, who edited the Hulu TV series, Paradise.Julia was nominated for an ACE Eddie for her work on This is Us. She's also edited Grey's Anatomy, Scandal, and How to Get Away with Murder.Howard has edited The Newsroom, American Gods, This is Us, and Perry Mason.Lai-San has edited This is Us, Rabbit Hole, and The Company You Keep.This discussion includes - among other things - a discussion about editing a show with no temp music, the judicious use of a single slo-mo shot, and why you move a scene from one episode to another.If you'd like to read along with this interview, please check out: borisfx.com/blog/aotc.

Today on Art of the Cut we speak with Doug Crise, ACE about editing Barry Levinson's latest film, The Alto Knights.Doug was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel. Then was nominated for a BAFTA and an ACE Eddie for Birdman. Also nominated for an Emmy and an ACE Eddie for Dopesick.This discussion includes - among other things - that value of intercutting scenes that weren't written to be intercut, building suspense through editing, and the revelation of the film's original opening scene and why it changed.If you'd like to read along with this podcast, the full transcript is available below, including clips, trailers and images.borisfx.com/blog/aotc

Today on Art of the Cut we speak with Monique Zavistovski, ACE about editing the documentary Will & Harper. The film was nominated for a BAFTA, and Monique was nominated for an ACE Eddie and a BFE Cut Above award for Best Documentary Editing. Also this year, she edited The Only Girl in the Orchestra, a documentary short that won the Oscar for that category. We'll speak with her about both films.Monique has also edited the documentaries They Call me Magic, Raise Hell: The Life and Times of Molly Ivins and Served Like a Girl.This discussion includes - among other things - staying true to the emotional journey of the characters, the difficult choices in killing your darlings, and using empathy to time reaction shots.Read along with the podcast on the BorisFX.com blog to see trailers and exclusive images.borisfx.com/blog/aotc

Today on Art of the Cut we're speaking with the ACE Eddie-winning team of editors for Best Documentary Series - for HBO's Chimp Crazy. With us are supervising editor, Evan Wise, ACE, editors, Adrienne Gits, ACE, Doug Abel, ACE, Charles Divak, ACE, and additional editor Sascha Stanton Craven.Evan's been nominated for multiple Emmys and ACE Eddies, including for his work on Q: Into the Storm, and The Circus: Inside the Greatest Political Show on Earth. He's also edited on the TV series The Anarchists.Doug's been nominated for numerous Emmys and ACE Eddies. He edited the TV series Tiger King. He's edited for The Oscars, and he edited the documentary Manda Bala: Send a Bullet.Adrienne's also been nominated for multiple Emmys and ACE Eddies including for her work on the documentaries and documentary series, Fearless, 100 Foot Wave, and Challenger: The Final Flight.Charles has similarly been nominated for multiple Emmys and ACE Eddies including for his work on Full Frontal with Samantha Bee, and The Circus: Inside the Greatest Political Show on Earth.Sascha edited the Jackass Forever Movie and Jackass 4.5. And cut the TV series On Cinema. This discussion includes - among other things - how story structure informs the audience's emotions, the joy of a good montage, and how Stanley Kubrick helped to deliver a climactic moment.If you'd like to read along with this interview and see exclusive photos and timelines and watch the trailer, check out the Art of the Cut blog on BorisFX.comborisfx.com/blog/aotc

Today on Art of the Cut we speak with the three editors of the Disney+/LucasFilm show Skeleton Crew which is from the Star Wars story universe.Editor Andrew Eisen, ACE, has been on Art of the Cut before to talk about The Mandalorian for which he's been nominated for two Emmys.  He's edited feature films including The Imitation Game and A House with a Clock in its Walls and was an additional editor on Guardians of the Galaxy 2.Terel Gibson, ACE, also edited the recently released feature film The Astronaut, as well as the feature films Sorry to Bother You and Ready or Not. He also edited episodes of the TV series Hawkeye.Kathryn Naranjo was an editor on Stranger Things and has been an assistant editor on feature films including The Adam Project, and Free Guy, also on TV series including Halt and Catch Fire.This discussion includes - among other things - cutting the show three times: in storyboards, previs, and finally with live action footage from The Volume, how sound creates believable world-building, and when exactly do you use a “Star Wars Wipe.”You can read along with the podcast on the blog where you can see timeline screenshots, exclusive images and more. Check out:borisfx.com/blog/aotc

Today on Art of the Cut we speak with three guests: the co-director and show editor and montage editor of the documentary Ladies and Gentlemen: 50 Years of SNL Music.Oz Rodriguez co-directed the documentary with Ahmir “Questlove” Thompson. Oz directed many of your favorite SNL Shorts, and has also directed episodes of Goosebumps and Nobody Wants This. John MacDonald was an associate producer on SNL. He's an editor, composer and segment producer on The Tonight Show Starring Jimmy Fallon. You've probably had some of his YouTube videos running on repeat. Jimmy Lester has been nominated for a Documentary Emmy for  Stockton on My Mind. He's edited episodes of Wu-Tang Clan: Of Mics and Men, History Channel's FDR series, and the doc, Getting Naked: A Burlesque Story.This discussion includes - among other things - why so many editors are also musicians, the value of a great assistant editor - and how to be one - and the art of using a talking head.This is a really good show to check out the blog, which has many exclusive images that help show how the montage, in particular, was edited. Visit:borisfx.com/blog/aotc

Today on Art of the Cut we speak with the director and editor of the documentary film Ernest Cole: Lost and Found.Director Raoul Peck won the Cannes Golden Eye Award and was nominated for a Palme d'or. He was nominated for a DGA Award for Outstanding Directorial Achievement. He won a BAFTA, an Emmy and was nominated for an Oscar and an Independent Spirit Award for his previous film, I Am Not Your Negro. Editor Alexandra Strauss has been nominated for three Cinema Eye Honors Awards for Outstanding Achievement in editing including one for this film and two others you'll hear about in the interview: I Am Not Your Negro and Exterminate all the Brutes.This discussion includes - among other things - the ethical considerations of showing violence, how tone affects pace, and how the director/editor relationship can open the director up to be more objective.If you'd like to read along with this podcast and see clips and trailers and stills from the documentary, check out:borisfx.com/blog/aotc

Today on Art of the Cut we speak with Harry Yoon, ACE about his editing of the film The Fire Inside.Harry has been on Art of the Cut before for his work on the films Shang-Chi and the Legend of the Ten Rings, Minari - for which he was nominated for an ACE Eddie, also The Best of Enemies, and Detroit. He's also been on for the TV series, Beef, for which he won an ACE Eddie. This discussion includes - among other things - working with a first time feature director, streamlining a narrative to increase impact, and how to build a scene that was never shot.While you're listening you can also READ ALONG with this interview and see exclusive photos and clips and the trailer. There's a cool timeline screenshot and a picture of Harry's assistant editors with the STORY WALL in the cutting room!Borisfx.com/blog/aotc

Today on Art of the Cut we speak with writer/director/editor, Brendan Bellomo of the Oscar-nominated documentary, Porcelain War. The film was nominated for an ASC Award for cinematography for its cinematographer, even though it was his first time using a camera. It won the DGA Award for Outstanding Directorial Achievement in Documentary. It won the PGA Award for Producing, won the Australian Screen Sound Guild Award and the HPA Award for Best Sound, and won the Sundance Grand Jury Prize award.This discussion includes - among other things - determining the structure of the film based on emotion, why color grading needed to be part of the off-line edit, and how the editing pace was determined by the personality of the documentary's subjects. You can read along with this interview and see images including the timeline and clips and trailers on the BorisFX blog at:borisfx.com/blog/aotc

Today on Art of the Cut we speak with director, writer, editor Sean Baker who was nominated for Oscars for Best Picture, Best Director, Best Screenplay, and Best Editing for his film, Anora. He was nominated for BAFTAs for Best Film, Best Editing, Best Casting, Best Screenplay and Best Director. He won AFI's Movie of the Year, and was nominated for an ACE Eddie. Sean's other feature films include Red Rocket, Tangerine, and The Florida Project. This discussion includes - among other things - why he chose to edit for himself, the importance of sound effects in a movie with no score, and Sean's aversion to editing shot/reverse shot. You can read along with this podcast and see trailers, clips and photos on the BorisFX blog site. borisfx.com/blog/aotc

Today on Art of the Cut we speak with Dávid Jancsó, the editor of The Brutalist.  David's been busy! He also edited last year's Monkey Man as well as films like Evolution and Pieces of a Woman as well as the TV series The Crowded Room and Treadstone. This discussion includes - among other things - how editing is like Brutalist architecture, the purpose behind fracturing time, and the decisions on what to keep in a movie that runs three and a half hours. You can read along with this interview and see clips and images at: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-winning editor - and now DIRECTOR - William Goldenberg, ACE about his directorial debut - the NUMBER ONE GLOBAL MOVIE on Amazon - Unstoppable. Of course, we also have William's editor - no, he didn't edit it himself - Brett Reed. Brett and William have been working together for more than 20 years. William has been on Art of the Cut many times, including for The Instigators, Air, The Outfit, News of the World, 22 July, Detroit, and Live By Night. Billy won the Oscar for Best editing, a BAFTA and an ACE Eddie for Argo. He was nominated for an ACE Eddie for Air, an Oscar nomination and a BAFTA nom for The Imitation Game, nominated for an Oscar for Zero Dark Thirty, nominated for an Oscar and an ACE Eddie for Seabiscuit, and for The Insider… and an Emmy for Citizen X.  Brett was also on The Instigators. He was an editor on M. Night Shyamalan's Old. He was also an additional editor on Transformers: Rise of the Beasts, Detroit and Live by Night. This discussion includes - among other things - the editing skills that helped William transition to director, why - other than their long working relationship - that William chose Brett as his editor, editing handheld footage - and a fascinating bit of Hollywood lore about Led Zeppelin and the movie Argo. If you'd like to read along with this interview and see the complete clips that we discuss in the interview, please go to: borisfx.com/blog/aotc

Today on Art of the Cut we speak with editors Scott Morris and Oscar-winning editor Andrew Buckland, ACE about editing James Mangold's A Complete Unknown. Andrew's been on Art of the Cut before for his work on The Girl on the Train, and for Ford v Ferrari for which he won an Oscar and a BAFTA and was nominated for an ACE Eddie. He also edited Indiana Jones and the Dial of Destiny. Scott Morris has been on Art of the Cut previously to discuss The Creator and Ad Astra. In various capacities he was also worked on several other movies covered by Art of the Cut including Oppenheimer, Don't Look up, and The Lost City of Z. This discussion includes - among other things - the difficulties of editing folk music, compressing multiple scenes into a montage, and the sacrifices made cutting a three and a half hour editor's cut down to size. If you'd like to read along with this podcast and see trailers, clips and exclusive photos, check out the blog on: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Nick Emerson about editing Conclave, for which he's nominated for an ACE Eddie for Best Edited Feature Film, Dramatic/Theatrical. Nick has been on Art of the Cut before, when we discussed the film Emma. His other credits include the feature films Lady MacBeth, Eileen, and Greta, and TV series including The Life and Adventures of Nick Nickleby and Life After Life. This discussion includes - among other things - the importance of slowly “drip-feeding the story to the audience, the use of slo-mo to add weight and importance, and how and when to break the 180 degree rule. If you'd like to read along with this podcast and see some of the clips that we talk about, please check out: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Louise Ford, ACE about editing Robert Eggers' “Nosferatu.” Louise has been on Art of the Cut before, when we discussed Eggers' The Northman. Her other credits include the features Wildlife, Bad Education, and The Lighthouse among many others. This discussion includes - among other things - the importance of sound design in horror films including the revelation of her personal secret sauce…her method to maintain emotional continuity and how she deals with the dark themes of her work with Eggers. If you want to read along with this podcast and see exclusive images, trailers and film clips, check out: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-nominee Joi McMillon, ACE about the editing of Barry Jenkins' Mufasa: The Lion King. Joi's been on Art of the Cut before for Moonlight - for which she was nominated for an Oscar and an ACE Eddie and for Underground Railroad. She also edited Jenkins' If Beale Street Could Talk among many other projects. The discussion today is about - among other things - the workflow similarities between Mufasa and Avatar, the benefits of watching dailies with the director and cinematographer, and the learning curve of cutting animation for the first time. If you want to read along with this podcast, a full transcript - with great visual support of trailers and clips - can be seen at borisfx.com/blog/aotc

Today on Art of the Cut we speak with Hansjörg Weißbrich about editing September 5, which has been nominated for a Golden Globe for Best Picture. It was also nominated for Best Editing by the Independent Spirit Awards and tied for the win for the LA Film Critics Award for Best editing. Hansjörg has been nominated for or won numerous German Best Editing awards. His work includes the feature films The Glory of Life, She Said and I'm Your Man, as well as the TV mini-series, Unorthodox, among many others. The discussion today is about - among other things - editing footage shot documentary-style, the importance of being at the mix, and the precision needed to spot music cues. Also, you can read along with this podcast and also see exclusing images and clips and trailers at borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-nominee Peter Sciberras, ACE about editing director Steve McQueen's film, Blitz. Peter was last on Art of the Cut for his work on Jane Campion's Power of the Dog for which he was nominated for an Oscar and an ACE Eddie. His other films include The Rover, The King, and Foe, among many others. The discussion today is about - among other things - finding the best moment to intercut between the film's two main characters, the importance of the opening scene's visceral impact, and collaborating with the sound team and composer, Hans Zimmer. You can read along with this interview and see clips, trailers and stills from the film at: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Sam Restivo and Oscar-winning editor, Claire Simpson about their editing of Ridley Scott's Gladiator II. Claire and Sam have been on Art of the Cut previously for their work on Ridley's Napoleon.  Claire won an ACE Eddie, a BAFTA and an Oscar for her editing of Best Picture winner, Platoon. She was nominated for another Oscar and an ACE Eddie and won a BAFTA for her editing of The Constant Gardener.  Along with Platoon, she's edited two other Oscar Best Picture nominees: The Reader and Extremely Loud and Incredibly Close. In addition to Napoleon and Gladiator II, Sam was an additional editor on The Last Showman, The Last Duel, House of Gucci and Robin Hood.  The discussion today is about - among other things - re-organizing the film to find the best moment to reveal critical information, the difference between editing action and dialogue scenes, and the importance of experimentation. If you want to follow along with this podcast with a transcript and visual support including clips, trailers, and exclusive photos, check out the blog at: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar nominee, Juliette Welfling about Jacques Audiard's film, Emilia Perez, currently on Netflix. Juliette's been on Art of the Cut before another of Audiard's films, The Sisters Brothers. Her other films include The Diving Bell and the Butterfly, for which she was nominated for an Oscar for Best Editing. She also edited the films: Rust and Bone, A Prophet, The Past, Free State of Jones and Ocean's Eight, The discussion today is about - among other things - structuring a film for character, not allowing an editor's cut to go too long, and working with a naked director - metaphorically. This podcast is also available transcribed as a blog with great visual support at: borisfx.com/blog/aotc

Today, we're talking with Myron Kerstein, ACE about teaming up again with director Jon Chu to edit the cinematic adaptation of the Broadway hit, Wicked. Before that they collaborated on In the Heights. And before THAT on Crazy Rich Asians - not to mention Kerstein's work with Lin-Manuel Mirandad on tick, tick...BOOM! and we've talked about ALL of those films here on Art of the Cut. Kerstein's previous work as an editor includes the feature films Going in Style, Garden State and Glee: The 3D Concert Movie. He's also directed an episode of the Apple Plus TV series, Home Before Dark. To go DEEP into the editorial archives he was once an assistant editor on the iconic series, Sex and the City. The discussion today is about how his directing work affects his editing, how he treats dance numbers like any dramatic scene, and the fellow musical editor - and fellow Art of the Cut guest - that Myron turned to for advice. If you'd like to see lots of video featurettes and trailers and exclusive images, check out the blog of this interview at: borisfx.com/blog/aotc

Today on Art of the Cut, we're talking with Dreamworks veteran editor, Mary Blee about the film, “The Wild Robot.” Mary's editing career began as an assistant editor on the 1991 animated film “Beauty and the Beast.” She's worked in sound editing and VFX editing. Did additional editing on “Kung Fu Panda” and was an associate editor on “How to Train Your Dragon” and “The Croods.” She was Second Editor on “The Boss Baby” and also worked on subsequent “How To Train Your Dragon,” “Croods” and “Boss Baby” films. The discussion today includes Mary's approach to cutting storyboards with feeling, the Rubik's cube of story beats and how they sometimes need to be spun into proper alignment, and the magic response that a director can have to leave an editor “flying home on a cloud.” Today is a really good episode to READ along with the podcast because we will have exclusive storyreels for the scenes that are discussed in the podcast and you'll really want to see those, not to mention the absolutely gorgeous timeline screenshot in the blog and clips from the movie. Get it all here: borisfx.com/blog/aotc

Today on Art of the Cut, we're talking with the editors of Netflix's documentary “Greatest Night in Pop.” They also were part of the editing team of “Mountain Queen: The Summirs of Lhakpa Sherpa.” Carlos Haynes has  worked on Neymar: the Perfect Chaos, Amend: the Fight for America, and Kevin Hart - Don't fuck this up. David Brodie was an editor on  The volunteer, Struggle: The Life and Lost Art of Szukalski and Selena Gomez: my Mind and Me. Will Znidaric was an editor on  projects like Biggie: I've got a story to tell, Neymar: The Perfect Chaos, and Quincy. The discussion today will be a deep-dive into successful documentary editing including how to build a character arc, treating interviews like a narrative editor treats performance, and how you need to know where your story is going before you decide on how the documentary will begin. To read along with this podcast and see clips, trailers, and exclusive photos go to: borisfx.com/blog/aotc

Today on Art of the Cut, Úna Ní Dhonghaíle, ACE discusses editing Disney's Young Woman and the Sea. Una was first nominated for an editing BAFTA 15 years ago. And again in 2013 and THREE TIMES in 2015. She won a BAFTA for Three Girls and was nominated for another BAFTA and an ACE Eddie for editing Kenneth Branagh's Belfast which we discussed right here on Art of the Cut. She was also on Art of the Cut previously for her work on The Crown and for Death on the Nile. Today we're going to be talking about the importance of taking time to build up character for big emotional payoffs later, jump-cutting for emotion, and discovering that collapsing or compressing scenes can reveal new things, dramatically. If you'd like to follow along with this interview and read the transcription as well as see clips, trailers and photos, check out the blog version of the podcast on Boris's site: borisfx.com/blog/aotc.

Today on Art of the Cut, editors Michael Anthony Brown and Michael Oliver about their Emmy winning work on Welcome to Wrexham. Brown also won an Emmy for his work on Wrexham last year. Other work includes the TV series, Mr. McMahon, Action, and Losers. Oliver won a Sports Emmy 2011 for HBO's 24/7 Penguins/Capitols. He's also edited projects like Being Liverpool, We Are LAFC and Messi's World Cup: The Rise of a Legend. Today we're talking with the Emmy-winning editors of this series about the importance of starting at a pace that gives you someplace to go, how to use slo-mo, and the games you play with the audience to keep them guessing. If you want to follow along and READ this interview with trailers, clips and exclusive photos, check out: borisfx.com/blog/aotc

Today on Art of the Cut, editors Nathan Orloff and Shane Reid discuss editing Jason Reitman's Saturday Night - a film recounting the chaos just before going LIVE with the first episode of Saturday Night Live. Nathan Orloff has been on Art of the Cut before, most recently for his work on Deadpool/Wolverine. He also joined us for his previous collaborations with Reitman on  Ghostbusters: Frozen Empire and Ghostbusters: Afterlife He was also on for editing John Wick 4. Shane Reid was also on Art of the Cut with Nathan for Deadpool/Wolverine and for Ghostbusters: Frozen Empire. Shane also edited the Nick Cave documentary, One More Time with Feeling.  Today we're going to be talking about Reitman's commitment to his highly choreographed long takes, how there was no temp score because composer Jon Batiste was actually recording the score ON THE SET, and creating the dynamics between chaos and quiet. If you want to follow along with this interview, you may read it and see exclusive photos and clips and trailers from the movie here: borisfx.com/blog/aotc

Today on Art of the Cut, editor Jeff Groth, ACE, discusses editing Joker: Folie a Deux. For those of you who didn't take French - that's “Madness between two.” Jeff's been on the show before to talk about the last Joker movie, and also The Grey Man. Groth was nominated for an ACE Eddie for his work on the TV series Entourage. He was nominated for an Oscar, a BAFTA and an ACE Eddie for his work on Joker.

Today on Art of the Cut, editor Cam McLaughlin discusses working with legendary filmmaker, Francis Ford Coppola, on his film Megalopolis. Cam's previously talked with Art of the Cut about working on Guillermo del Toro's Nightmare Alley. Cam was also an associate editor and music editor on del Toro's Shape of Water. His TV work includes The Girlfriend Experience and Guillermo del Toro's Cabinet of Curiosities.  Discover the collaboration process of legendary filmmaker, Francis Ford Coppola as he works with editor Cam McLauchlin; how they used AI; and getting to contribute to the script process. To read along and see exclusive photos and video clips check out borisfx.com/blog/aotc.

Today on Art of the Cut, we discuss editing the Apple Plus feature film The Instigators with three editors, including Oscar-winning editor William Goldenberg, ACE, Oscar-nominee Tatiana Riegel, ACE, and Oscar-nominee Saar Klein. Billy's been on Art of the Cut six times before for his work on Live By Night, Detroit, 22 July, The Outfit, News of the World, and Air. Billy won an Oscar, a BAFTA, and an ACE Eddie for Argo, and was nominated for an Oscar, a BAFTA and an Eddie for The Imitation Game. He was also nominated for an Oscar for Zero Dark Thirty, but lost to … himself. He was also nominated for Oscars for Seabiscuit and The Insider. Tatiana has been on Art of the Cut to discuss The Girl in the Spider's Web, Cruella, and I, Tonya.  Tatiana has been winning ACE Eddies since back in 2008! She was nominated for an Oscar and won an ACE Eddie AND an Independent Spirit Award for I, Tonya, was nominated for an Emmy for Pam & Tommy, and was nominated for an ACE Eddie for Cruella. Saar was nominated for an Oscar and an ACE Eddie for The Thin Red Line, and he was nominated for an Oscar and won an ACE Eddie for Almost Famous. His other work includes, Jumper, The Bourne Identity, and the TV series, Masters of the Air.  A three-person panel of editors with 8 Oscar nominations between them discusses the emotional impact of structural changes, the advantages of objectivity, and Stockholm Syndrome as it applies to directors!

Today on Art of the Cut we are talking about cutting horror and suspense with Greg Ng and Graham Fortin who edited this summer's Longlegs which is now available on VOD after its theatrical run. Greg has been nominated and won numerous Canadian Cinema Editor and Leo Awards for TV and documentaries. His credits include the feature films Afflicted and Come and Find Me. He's also edited for the great ESPN doc series, 30 for 30. Graham's credits include the documentaries Ari's Theme, The Wrestlers, and the TV series Trumpocalypse. Today we're going to be discussing changing the beginning of the film, changing the end of the film and making all the moments in the middle as heightened as possible, emotionally. If you'd like to follow along with this interview and read the transcript, as well as be able to see exclusive images from editing the movie and clips and trailers, check out: borisfx.com/blog/aotc

Today on Art of the Cut we are talking about Tim Burton's Beetlejuice Beetlejuice with editor Jay Prychidny, CCE.  This is Jay's fourth time on Art of the Cut. He previously joined us to talk about Snowpiercer, Wednesday, Scream VI, and now, Beetlejuice Beetlejuice. Jay's won a BAFTA and been nominated for and won numerous Canadian Cinema Editor's Awards for his work on Orphan Black, The Alienist, The Amazing Race Canada, and many others. Today we're going to be discussing re-structuring a film to blend disparate elements, trying to create a mashup of MacArthur Park that tells a story while remaining musically cohesive, and turning a simple montage into a nostalgic, emotional journey. 

Today on Art of the Cut, we talk with editor Jamie Kirkpatrick, ACE and one of his assistant editors, Amanda K. Romero about editing the film, Greedy People. Jamie's been on Art of the Cut previously for his work on the film Critical Thinking. His other films include Old Henry, My Friend Dahmer, and We Summon the Darkness. Amanda has previously edited the feature films False Pretenses and Bedside, and the TV series Londyn and Philly D.A. We're going to be discussing how balancing tone in a black comedy is deadly business, why finding temp from similar movies doesn't necessarily work, and how you make the move from un-scripted editor to scripted assistant Also, you can read along and see pictures of Jamie and Amanda, Jamie's cutting room, and the timeline and Productions window from Adobe Premiere for the movie. borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar nominee Jake Roberts, ACE, about editing Alien Romulus. Jake has been on Art of the Cut previously for the films Brooklyn, Hell or High Water, and The Hitman's Bodyguard. He was also on for the TV series, Devs. His work on Hell or High Water was nominated for an Independent Spirit Award, an ACE Eddie and an Oscar. We're going to be discussing director Fede Alvarez's cinematic hack behind the jump scare, how pacing builds tension, and how they shot special effects in the cutting room. You can read along with this interview and see trailers, film clips and stills from the movie at borisfx.com/blog/aotc

Today on Art of the cut, we speak with Emmy-nominated editor Michael Harte, ACE, about editing the Netflix docu-series, “Beckham.” He was also nominated for an ACE Eddie and a BAFTA for the series. Harte won an Emmy, an ACE Eddie a BAFTA for his editing of the documentary “Still: A Michael J. Fox Movie.”  He was also nominated for an Emmy and an ACE Eddie for his editing of the documentary “Three Identical Strangers.” We're going to be discussing the need to know where and how the documentary  starts, the importance of archival that speaks in conversation with the interviews, and respecting the all-important power of the truth. If you'd like to read along with the interview, check out the blog of the podcast, which includes trailers and exclusive images and more. borisfx.com/blog/aotc

Today, we're talking with Zsófia Tálas, who was recently nominated for an Emmy for her episode of the drama, Slow Horses - available on Apple TV Plus. Zsófia's other work includes the BBC TV series A Good Girl's Guide to Murder, SkyTV's The Midwich Cuckoos, and Hulu's Brassic. She's also cut feature films including Bad Poems, The Cabin, and Unwelcome. Check out the Art of the Cut blog where there are trailers, stills and exclusive images - including a timeline of the show borisfx.com/blog/aotc

Today, we're talking with Dean Zimmerman, ACE and Shane Reid about editing Deadpool and Wolverine. Dean's been on Art of the Cut before to discuss the projects: Free Guy, All the Light We Cannot See and Stranger Things, for which he won an Emmy, was nominated for two others, and an ACE Eddie. His other work includes The Darkest Minds, Jumper and Night at the Museum: Battle of the Smithsonian. Dean's been working on the next season of Stranger Things. Shane Reid was previously on Art of the Cut for his editing of Ghostbusters: Frozen Empire. He also edited the feature, One More Time with Feeling and is currently cutting the new Saturday Night Live feature film, due out in October of 2024. Be sure to follow along with this podcast by checking out the blog where you can see great custom images, trailers, clips and more: borisfx.com/blog/aotc.

Today, we're talking with Terilyn A. Shropshire, ACE about editing one of this summer's big blockbusters, “Twisters.” The last time I spoke with Terilyn, she had just edited “The Woman King,” for which she was nominated for an ACE Eddie. We also spoke when she edited “The Old Guard.” Terilyn has been nominated for a Primetime Emmy Award, was nominated for an ACE Eddie for her work on “When They See Us”  and she won an ACE Eddie for “Redemption: The Stan Tookie Williams Story.” Terilyn's other credits include Miss Bala, Eve's Bayou and Love and Basketball. She edited the The Secret Life of Bees. She was also an additional editor on A Wrinkle in Time. If you want to read along with this podcast and see exclusive images of timelines and Teri's cutting room and clips from the movie, check out: borisfx.com/blog/aotc

Today on Art of the Cut, we feature one of the recent editing nominees for this year's Emmys: Russell Griffin, ACE. He's been nominated for three primetime Emmys and a Kids and Family Emmy. And won an ACE Eddie last year for the How I Met Your Father episode, “Daddy.” This year he's Emmy nominated for the How I Met Your Father episode “OK, Fine, it's a Hurricane” in the category, Outstanding Picture Editing For A Multi-Camera Comedy Series. Previous work includes The Upshaws, for which he was nominated for an Emmy and Mad about You. Also, you can follow along with the podcast to see exclusive images, trailers and video clips by reading the blog at: borisfx.com/blog/aotc

Today on Art of the Cut, we discuss Michael B. Jordan's directorial debut, Creed III, with the editors of the film, Jessica Baclesse and Tyler Nelson, ACE. Jessica is currently editing the film Rez Ball. She was an assistant editor on Captain Marvel, has edited numerous short films, and the TV series, Breakwater, Play By Play and In the Vault. Her commercial editing work has been nominated for numerous awards. Tyler  has been on Art of the Cut several times, including for his work as an editor on The Batman and the TV series Mindhunter. He also edited TV series including Love, Death and Robots, Shadow and Bone and Tales from the Loop. As an assistant editor, he worked on Gone Girl and The Social Network and the TV series House of Cards. If you want to read along with the podcast and see some great exclusive images and clips from the movie, check out the Art of the Cut blog on BorisFX at: borisfx.com/blog/AOTC.

Today on Art of the Cut we speak with Emmy and ACE Eddie winner, Paul Crowder, ACE and Sierra Neal about Ron Howard's documentary, “Jim Henson: Idea Man” which can be seen on Disney Plus. Paul and Sierra have both been on Art of the Cut previously for their other documentaries with Ron Howard, “Pavarotti” and “The Beatles: Eight Days a Week.”  Paul started his rise to editing fame with the documentary Dogtown and Z-Boys which won the Audience Award and directing award at Sundance in 2001 and an Independent Spirit Award in 2002. He had a long tenure with the VH-1's Behind the Music series. Paul's also a screenwriter and producer. Sierra's work includes the Guns N' Roses: Live from New York documentary. And Ringo Starr's Big Birthday Show. She was also an additional editor on the documentary, “Carlos” - about legendary guitarist Carlos Santana - which was recently featured on Art of the Cut. If you'd like to see great clips, trailers and exclusive visual content, check out the blog and you can read along with the podcast! borisfx.com/blog/aotc

Today on Art of the Cut we speak with Job ter Berg, ACE about the film The Watchers. Job has been on Art of the Cut before - most recently to discuss Gareth Edwards' sci-fi film, The Creator and before that for Paul Verhoeven's film, Elle. His other work includes Benedetta, The Informer, and Brimstone. Also, check out the BLOG with exclusive images, and video content, including trailers and clips. You can read along at: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar nominee, Sandra Adair, ACE, about the Richard Linklater film, “Hit Man.” Sandra was last on Art of the Cut for her film “Where'd you Go, Bernadette.” She was nominated for an ACE Eddie for her work on “School of Rock.” And she was nominated for an Oscar and won an ACE Eddie for her work on “Boyhood.”  Her other work includes “Dazed and Confused,” “A Scanner Darkly,” and “Bernie.” There are a ton of great exclusive photos - including the chart she talked about in the BLOG version of this podcast. Check that out at: borisfx.com/blog/aotc