Podcasts about American Cinema Editors

Editor - Eddie Hamilton ACE MISSION: IMPOSSIBLE - THE FINAL RECKONING editor Eddie Hamilton ACE has edited the last four of the franchise's eight films.  While there are a combined five other editors responsible for the first four movies, the challenge of tying up any loose ends and bringing the franchise to a close (seemingly) fell solely to Eddie.  In addition to his work on the Mission Impossible films, Eddie has also taken part in two other action franchises.  Eddie cut TOP GUN: MAVERICK as well as two of director Matthew Vaughn's "Kingsman" films.  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action movie editors working today. Picking up two months after the events of MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE, Ethan Hunt and the IMF team must stop a malevolent AI known as "The Entity" from either forcing the world powers into a nuclear war or launching the missiles on its own.  Adding to the challenge, they must do this before Ethan's nemesis Gabriel gains control of The Entity and its power to dominate the world. Eddie Hamilton, ACE Prior to finishing the seventh and eighth films in the Mission Impossible franchise, Eddie cut Top Gun: Maverick, directed by Joseph Kosinski, for which he was nominated for the Oscar and BAFTA Film Editing awards, and won the ACE Eddie and Hamilton Behind The Camera Award. He also cut Mission: Impossible - Fallout and Mission: Impossible - Rogue Nation for director Christopher McQuarrie. Other credits include Kingsman: The Secret Service, Kingsman: The Golden Circle, X-Men: First Class and Kick-Ass for director Matthew Vaughn. After 30 years in the industry Eddie has cut over 20 feature films (both indies and studio movies) in a wide variety of genres as well as TV dramas, documentaries and award-winning short films. His enthusiasm for big screen storytelling is matched only by his total dedication to the craft of film editing, his nerdy technical expertise and his undisputed love of chocolate. He has given presentations on Avid Media Composer editing at NAB and IBC. Eddie is a member of the Academy Of Motion Picture Arts & Sciences, American Cinema Editors, British Film Editors and BAFTA, was on the feature film panel at EditFest London in 2013 and 2018, and was the keynote speaker at EditFest Los Angeles in 2022. The Credits Visit ExtremeMusic for all your production audio needs Hear Eddie talk about his work on Mission: Impossible - Fallout, Mission: Impossible - Dead Reckoning Part One and Top Gun: Maverick Take a guided tour with Eddie of his Avid timelines from Mission: Impossible - Fallout, Top Gun: Maverick and Mission: Impossible - Dead Reckoning Part One See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Harry Yoon, ACE and Angela M. Catanzaro, ACE THUNDERBOLTS editors Harry Yoon and Angela M. Catanzaro each gained a whole new appreciation for production crews, having spent considerable time themselves cutting on-set and as a integral part of the process. Harry reflects on his previous working relationship with director Jake Schreier on Beef and how he came on board for THUNDERBOLTS.  Angela also shares her excitement about joining the MCU after working on the feature film Prey. The editors delve into the collaborative process and the importance of depicting mental health themes, and also touch on the critical balancing act of creating a film that feels both intimate and action-packed. The discussion includes the unique musical approach of involving the composers early in the production and the nuances of fine-tuning comedic timing in the edit. Directed by Jake Schreier from a screenplay by Eric Pearson and Joanna Calo, THUNDERBOLTS* is the 36th film in the Marvel Cinematic Universe.  The story follows former black widow Yelena Belova (Florence Pugh) as she carries out deadly operations for CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). De Fontaine faces imminent impeachment for her work with O.X.E. Group, so she dispatches Yelena, John Walker, Ava Starr, and Taskmaster to a covert O.X.E. facility under the pretense of a special assignment. Once there, they find themselves ensnared in a death trap, uniting the unconventional team of antiheroes as they take on a dangerous mission that will force them to confront the darkest corners of their pasts. HARRY YOON, ACE THUNDERBOLTS* marks Harry's second stint in the MCU with the first being Shang-Chi and the Legend of the Ten Rings (2021).  Immediately prior to his work on that film, Harry was being lauded for his work with director Lee Isaac Chung on the Oscar®-nominated film, Minari (2020).  Harry's other work includes the films The Last Black Man in San Francisco (2019), First Man (2018) and Detroit (2017). ANGELA M. CATANZARO, ACE Angela Catanzaro is a Los Angeles-based Emmy and Eddie Award-nominated editor who works in both television and feature films. Angela is a member of The Academy of Television Arts & Sciences, the Motion Picture Editors Guild, American Cinema Editors, and serves on the editing faculty at the American Film Institute.  Prior to THUNDERBOLTS*, Angela worked on the film Prey (2022) and such TV shows as Suits and The Man in the High Castle. The Credits Visit ExtremeMusic for all your production audio needs Listen to Harry talk about MINARI and SHANG-CHI AND THE LEGEND OF THE TEN RINGS Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

ImdbBioEric Litman, ACE is a seasoned editor and a proud member of American Cinema Editors. He grew up outside of Philadelphia, Pennsylvania, and earned his BA in Film from Temple University's Film and Media Arts School before receiving his Master's in Editing from the prestigious American Film Institute Conservatory.Eric's editing career took off with Marvel's Agents of S.H.I.E.L.D., where his work earned him a spot on the cover of Cinemontage in 2015. He played a key role in crafting many of the show's most memorable premieres and finales.Since then, Eric has edited a variety of fan-favorite series, including Black Sails, Magnum P.I., Charmed, and Star Trek: Picard. In addition, he cut The Hot Zone: Anthrax, a limited series produced by Ridley Scott's Scott Free Productions for Nat Geo.Currently, Eric is an editor on Netflix's One Piece and the Apple TV+ series Dope Thief, produced by Ridley Scott and Peter Craig.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

ImdbBioCorey Frost is an emmy-nominated editor renowned for his work in both documentary and scripted films. With a focus on emotionally charged storytelling, Corey has edited a diverse range of content, including short and feature-length documentaries for top television networks and sports channels. He most recently co-edited the acclaimed genre-bending documentary New Here, directed by Sundance Grand Jury Prize winner Dan Sickles and produced by Oscar winner Shane Boris. Corey's scripted feature Grace Point premiered at the 2023 Santa Barbara International Film Festival, and is available on digital and VOD now. His other credits include Netflix's Coach Snoop, Amazon Prime's All or Nothing: The Michigan Wolverines, and UFC's 25 Years in Short series, for which Corey received a Sports Emmy nomination in 2018. An Affiliate Member of the American Cinema Editors, Corey has also directed and produced various projects, including ESPN's Before They Were Cowboys, showcasing his versatility as a filmmaker and storyteller.Become a supporter of this podcast: https://www.spreaker.com/podcast/creator-to-creators-with-meosha-bean--4460322/support.

Norman Buckley is a prolific director whose work spans various networks, genres, and styles. Most recently, he executive produced and edited the short film STORAGE FEES. He is currently the co-executive producer/producing director on the Netflix show SWEET MAGNOLIAS. His previous credits include NCIS: HAWAII, PRETTY LITTLE LIARS, CHARMED, IN THE DARK, ZOO, QUANTICO, RIZZOLI AND ISLES, CHUCK, GOSSIP GIRL, AND THE OC. He was co-executive producer/producing director on PRETTY LITTLE LIARS: THE PERFECTIONISTS.After editing the pilot episode of THE OC in 2003, he began his directing career by helming six episodes of that series. He has gone on to direct over 140 episodes of television since then. His television movie THE PREGNANCY PROJECT won Best Primetime Program (Special or Movie of the Week) and Best Actress (Alexa Vega) at the 2012 Imagen Awards. His episode of THE OC “The Metamorphosis” was chosen by Entertainment Weekly magazine as one of the five best episodes of the series. His episode of GOSSIP GIRL “The Handmaiden's Tale” was chosen by Newsweek Magazine as one of the top ten television episodes of 2007.Buckley began working in the industry as an assistant editor on the Oscar-nominated films TENDER MERCIES, SILKWOOD, and PLACES IN THE HEART. He continued editing for a number of years on many films, television series, and TV movies. He worked with many outstanding directors, including Bruce Beresford, Robert Benton, Mike Nichols, Rob Reiner, Michael Lindsay-Hogg, Richard Donner, J.S. Cardone, McG, Doug Liman, and Robert M. Young. He also learned the editing craft from some of the best film editors in the business, including Carol Littleton, Sam O'Steen, William Anderson, and Bob Leighton.He worked as an editor on many independent films at the Sundance, Toronto, and Telluride film festivals, including HAPPY, TEXAS, which he also associate-produced. Beginning in 2000, Buckley edited several television pilots, all of which were picked up to series, which led to his regular work in television.He has been nominated twice for an American Cinema Editors award: in 2003 for JOE AND MAX, for best-edited motion picture for non-commercial television, and he won the award in 2008 for the pilot of CHUCK, for best-edited one-hour series for commercial television.Buckley grew up in Fort Worth, Texas and studied history at the University of Texas at Arlington, before moving to Los Angeles where he would later graduate from the University of Southern California with a degree in Cinema/Television.He was an adjunct professor at the University of California Los Angeles film school, teaching both graduates and undergraduates.Norman Buckley was married to the late artist Davyd Whaley and he established The Davyd Whaley Foundation (davydwhaleyfoundation.org) to carry on Davyd's legacy by supporting emerging artists with annual grants. Most recently the Foundation has funded scholarships at the Art Students League in New York and the film school at UCLA, as well as providing funding for Art Division, Art of Elysium, and the Brentwood Art Center in Los Angeles. 

Editor - Dan Rovetto, ACE SUITS LA editor Dan Rovetto's career path was far from straightforward. Reflecting on his early days, he shares how intern experiences at MTV laid the foundation for his editing career.  Our conversation covers his transition from reality TV editing to scripted television, plus the impact of streaming, social media and Meghan Markle on the resurgence of the original 'Suits' series.  We also talk about the influence of music choices and the role of assistants in the editing process.  Dan further discusses the unique pressure of editing a pilot episode, especially for a series as anticipated as "Suits LA", including the high stakes involved and the need to set up a new world. Created by SUITS showrunner Aaron Korsh, SUITS LA centers on how Ted Black, a former federal prosecutor from New York, has reinvented himself representing the most powerful clients in Los Angeles. But his firm is at a crisis point, and in order to survive, he must embrace a role he held in contempt his entire career. Ted is surrounded by a stellar group of attorneys who test their loyalties to both Ted and each other while they can't help but mix their personal and professional lives. On top of it all, Ted must come to terms with the events that years ago led him to leave behind everything and everyone he loved. DAN ROVETTO, ACE SUITS LA editor Dan Rovetto, ACE is known for editing Suits, Pearson and Grey's Anatomy. He grew up on the east coast of the United States getting his start in entertainment at MTV in Times Square. Following his passion for editing and sense of adventure he moved to Los Angeles, CA in 2010. After a short time he made the transition into scripted and got his start editing on the hit USA Network series Suits where he quickly made a name for himself. In 2022 Dan Rovetto became a proud member of American Cinema Editors. The Credits Visit ExtremeMusic for all your production audio needs Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

UNSTOPPABLE director Billy Goldenberg and editor Brett Reed have had a working relationship for over twenty years, going back to their time together on COYOTE UGLY (2000).  Since that film, they've logged a lot of hours as "editor and assistant" or "editor and additional editor", but their new film brings about a whole new dynamic, "director and editor". UNSTOPPABLE is the inspiring true story of Anthony Robles (Jharrel Jerome) who was born with one leg but whose indomitable spirit and unbreakable resolve empowered him to defy the odds and pursue his dreams. With the unwavering love and support of his devoted mother Judy (Jennifer Lopez) and the encouragement of his coaches, Anthony fights through adversity to earn a spot on the Arizona State Wrestling team. But it will demand everything he has, physically and mentally, to achieve his ultimate quest to become an NCAA Champion. WILLIAM GOLDENBERG, ACE While UNSTOPPABLE is Billy's first shot at directing, he is one of the most well-respected and sought-after film editors working today. He won an Academy Award, BAFTA Award, and the American Cinema Editors' (ACE) Eddie Award for his outstanding work on the 2013 Best Picture winner, Argo, directed by Ben Affleck. His recent editing credits include Air, 22 July, Unbroken, and Concussion. Goldenberg received dual Oscar nominations in 2013, also being nominated, along with editor Dylan Tichenor, for his work on Kathryn Bigelow's Zero Dark Thirty.  In 2015, Billy was again nominated for an Oscar, a BAFTA Award, and an Eddie Award for the historical thriller The Imitation Game, starring Benedict Cumberbatch and Keira Knightley.  He was previously Oscar-nominated for his editing work on Seabiscuit, and on Michael Mann's controversial film The Insider (with Paul Rubell and David Rosenbloom). Goldenberg was also part of the editing team on Mann's Heat, Ali, and Miami Vice BRETT M. REED Prior to cutting UNSTOPPABLE for Billy, Brett also collaborated with Artists Equity on Doug Liman's film THE INSTIGATORS, starring Matt Damon, Casey Affleck and Hong Chau. Additionally, he edited OLD, directed by M. Night Shyamalan for Universal Pictures, as well as several episodes of Shyamalan's television show THE SERVANT for Apple TV+.  Previously Reed cut CLOUDS directed by Justin Baldoni for Disney+; Christoph Waltz' GEORGETOWN; Automatik's DREAMLAND directed by Miles Joris-Peyrafitte and starring Margot Robbie; and Nick Hamm's bio-thriller DRIVEN, starring Erin Moriarty and Lee Pace. Brett's earlier work with Billy Goldenberg included supporting him as an Additional Editor on TRANSFORMERS: RISE OF THE BEASTS, LIVE BY NIGHT, CONCUSSION, UNBROKEN and ARGO. Reed was also a First Assistant Editor on THE AMAZING SPIDER-MAN 2, ZERO DARK THIRTY, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES, NATIONAL TREASURE, amongst others. Directing and editing UNSTOPPABLE In our discussion with Billy and Brett, we talk about: Editors as first-time directors Cutting for a director who's an Oscar-winning editor Seeing double on the wrestling mat Obsessing and finessing an L-cut Making the most of a montage The Credits Visit Extreme Music for all your production audio needs Listen to Billy talk about cutting AIR and NEWS OF THE WORLD Check out the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Terilyn A. Shropshire, ACE TWISTERS editor Terilyn Shropshire has more than a few action movies under her belt, but those films mostly featured action in the style of man (or woman) vs. man; films like THE OLD GUARD and THE WOMAN KING.  This time Teri takes on Mother Nature in a film where the visual effects are front and center in the set pieces. A standalone "spiritual" sequel to TWISTER (1996), TWISTERS tells the story of scientist and storm chaser, Kate Cooper.  Haunted by a devastating encounter with a tornado, Kate gets lured back to the open plains by her friend, Javi, to test a groundbreaking new tracking system. She soon crosses paths with Tyler Owens, a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma. TERILYN A. SHROPSHIRE, ACE Award-winning editor Terilyn A. Shropshire has risen to the pinnacle of the editing world over the course of her long career, consistently working on a broad range of films with the industry's foremost filmmakers. Shropshire's success spans many forms and mediums, and always accumulates accolades from both the industry and critics alike. Among Shropshire's longtime collaborators is award-winning director/writer/producer Gina Prince-Bythewood, having worked with her closely since Bythewood's classic debut, “Love & Basketball.” Shropshire most recently worked with Bythewood on “The Woman King,” for Sony's Tristar Pictures. Among the many accolades Shropshire received for the film include an American Cinema Editors Eddie nomination for Best Edited Feature Film Drama Theatrical and winner for Outstanding Editing from the Black Reel Awards.  Other collaborations with Prince-Bythewood include the influential features “The Old Guard,” “Beyond the Lights,” and “The Secret Life of Bees.” Shropshire's storied career also includes a number of films with long-time collaborator, Kasi Lemmons – the classic Southern drama “Eve's Bayou,” along with “The Caveman's Valentine,” “Talk to Me,” and “Black Nativity.” In 2019, Shropshire received an American Cinema Editors Eddie nomination for her work on Part 1 of Netflix's four-part miniseries “When They See Us,” directed by Ava DuVernay. Shropshire earned an Emmy nomination for her Lifetime Achievement Award Tribute to Sidney Poitier for the 74th Annual Academy Awards and an ACE Eddie Award for the Jamie Foxx-starring crime drama, “Redemption: The Stan Tookie Williams Story.” Teri serves on the Board of Governors at the Academy of Motion Picture Arts and Sciences and the Board of American Cinema Editors. Shropshire is a member of the Academy of Television Arts and Sciences and the Diversity Committee of the Motion Picture Editor's Guild. She is the recipient of the 2021 Sundance Institute/Adobe Mentorship Award for her commitment to supporting the future's rising stars in the craft.  She earned dual Bachelor of Arts degrees in Broadcast Journalism and Cinema at the University of Southern California. Editing TWISTERS In our discussion with TWISTERS editor Terilyn Shropshire, we talk about: Soundtracks for stormy weather Cyclonic oners A need for editorial amnesia "Teri-nadoes" The kiss that never came The Credits Visit Extreme Music for all your production audio needs Hear Teri talk about his work on THE OLD GUARD and THE WOMAN KING See the latest new features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Doc Crotzer, ACE ROAD HOUSE editor Doc Crotzer ACE got his first real studio feature film experience cutting Doug Liman's Sci-Fi/Fantasy film, CHAOS WALKING (2021).  Three years later Doug would tap Doc once again to take the film fight game to another level for Liman's latest entry in the action genre. Directed by Doug Liman and produced by Joel Silver, this remake of the 1989 cult classic sees ex-UFC fighter Dalton take a job as a cooler at a Florida Keys roadhouse, only to discover that this paradise is not all it seems. DOC CROTZER, ACE A filmmaking Swiss Army knife, Doc has directed, produced, and edited studio feature films, award winning television series, and immersive documentaries. He draws from his wide-ranging experience in production and postproduction to tell cinematic stories that remain grounded in human emotion, regardless of the medium. His encyclopedic knowledge of editing allows him to shoot efficiently and creatively, while inspiring confidence from collaborators on both sides of the camera. His favorite part of filmmaking is collaborating with actors and crew to create something in which the sum is truly greater than any of its parts. Doc's instincts and work ethic are trusted at the highest levels, often quietly working as a “fixer” on studio films and TV shows that need fresh eyes to reach their fullest potentials. A musician himself, Doc has edited over 100 music videos and excels at bringing stories to life that incorporate music and visual effects. Doc was nominated for an Emmy® for his work directing a web series and nominated for ACE and HPA awards for his work on the TV show Glee. He is a proud member of the Director's Guild of America, American Cinema Editors, and the Television Academy of Arts & Sciences. Editing Road House In our discussion with Road House editor Doc Crotzer ACE, we talk about: Being "Bourne" again with Doug Liman Giving fight scenes the ol' Hollywood pass Taking 25% of a beating The battle in front of the bands Managing big personalities on screen and off The Credits Visit Extreme Music for all your production audio needs See the Rough Cut come to life over at the Frame.io blog See the latest new features in Avid Media Composer Hear Doc discuss his work on CHAOS WALKING and SHOTGUN WEDDING Listen to director Doug Liman share his thoughts on filmmaking Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

This week we're excited to present a conversation from the 61st New York Film Festival between American Cinema Editor members Sandra Adair (Hit Man) and Jonathan Alberts (All of Us Strangers). Across genres, styles, and modes of production, the work of the film editor remains one of the least visible but most essential elements of cinematic storytelling. In last year's NYFF lineup, Main Slate selection All of Us Strangers and Spotlight selection Hit Man were exemplary showcases for the range of expressive effects made possible by the film editor's contributions, demonstrating how pacing, rhythm, and punctuation can amplify or obscure meaning, accentuate performances, and synthesize precise interactions between comedy, drama, suspense, and eroticism. This talk was organized in collaboration with American Cinema Editors and was moderated by American Cinema Editor member Jeffrey Wolf. All NYFF61 Talks are sponsored by HBO.

Today on Art of the Cut, we're talking with Dean Zimmerman, ACE about the limited Netflix series, All the Light We Cannot See, directed by his long-time collaborator, Shawn Levy. Dean's been on Art of the Cut before for “Free Guy” and “Stranger Things” and “Mazerunner.” He's part of a legendary editing family, headed by his father Don Zimmerman, who just received the Lifetime Achievement Award from the American Cinema Editors this year. Dean won an Emmy and was nominated for an ACE Eddie in 2017 for Stranger Things. And then in 2020, two more Emmy nominations for Stranger Things. Other work includes The Adam Project, Holmes and Watson, and Night At the Museum: Secret of the Tomb. Don't forget that you can READ this interview with visuals like clips, trailers and the occasional timeline screenshot at: borisfx.com/blog/aotc

Today on Art of the Cut, it's my pleasure to speak with legendary editor Thelma Schoonmaker, ACE, about working with her legendary director, Martin Scorsese, about their latest film, “Killers of the Flower Moon.” Thelma's filmography includes editing eight Oscar Best Picture nominated films.  She was nominated for her first Oscar for Best editing for “Woodstock” in 1971. Her co-editor on that film was Martin Scorsese, actually.  She won an ACE Eddie, a BAFTA and an Oscar for editing "Raging Bull." She won a BAFTA and was nominated for an Oscar and an ACE Eddie for “Goodfellas.” Nominated for an ACE Eddie for “Casino.” Won an ACE Eddie and was nominated for a BAFTA and an Oscar for “Gangs of New York.” Nominated for a BAFTA and won an ACE Eddie and an Oscar for “The Aviator.” Nominated for a BAFTA and won an ACE Eddie and the Oscar for “The Departed.” Nominated for an ACE Eddie, a BAFTA and an Oscar for “Hugo.” Nominated for an ACE Eddie and a BAFTA for “Wolf of Wall Street.”  Nominated for an ACE Eddie a BAFTA and an Oscar for “The Irishman.”  And was awarded a career achievement award by the American Cinema Editors. 

Director - Alexander Payne and Editor - Kevin Tent ACE Longtime friends and collaborators, Alexander Payne and Kevin Tent, reunite once more for their eighth feature film, THE HOLDOVERS! THE HOLDOVERS tells the tale of Paul Hunham (Paul Giamatti), a curmudgeonly instructor at a New England prep school who remains on campus during Christmas break to babysit a handful of students with nowhere to go. He soon forms an unlikely bond with a brainy but damaged troublemaker, and also with the school's head cook, a woman who just lost a son in the Vietnam War. Alexander Payne Director, producer and screenwriter Alexander Payne attended Stanford University, where he majored in Spanish and History.  He then went on to study film at UCLA Film School.  His university thesis film was screened at the Sundance film festival, which led to him being backed by Miramax to write and direct CITIZEN RUTH (1996). Kevin Tent ACE Editor Kevin Tent has the distinction of having edited all of Payne's feature films (as well as a TV pilot); including films such as CITIZEN RUTH (1996), ELECTION (1999), SIDEWAYS (2004) and THE DESCENDANTS (2011) for which Tent received an Oscar nomination.  Kevin is currently serving as president of the American Cinema Editors. Making The Holdovers In our discussion with Alexander Payne and Kevin Tent ACE from THE HOLDOVERS, we talk about: The benefits of being an amiable, affordable, and available editor Demonstrating your abilities to not edit Coming out of the Criterion closet Giving a hall pass to laugh early in the film How it takes an audience to complete a film The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Varun Viswanath ACE and Patrick Tuck The RESERVATION DOGS editing team of Varun Viswanath ACE and Patrick Tuck have spent the last two of the show's three seasons, working together to close the loop on multiple, multi-generational stories.  Considering that the focus was just on the four teens when Varun started the journey with the Season One pilot, this was no small feat. There was no roadmap as to how their lives and their stories would interconnect with the generations of "Rez Dogs" that came before. RESERVATION DOGS follows the exploits of four Indigenous teenagers in rural Oklahoma who steal, rob and save in order to get to the exotic, mysterious and faraway land of California. To succeed, they will have to save enough money, outmaneuver the methheads at the junkyard on the edge of town and survive a turf war against a much tougher rival gang.  VARUN VISWANATH ACE Varun is a Film & TV Editor based in Los Angeles, CA.  He is a member of the American Cinema Editors and the Motion Pictures Editors Guild, and has an MFA in Film Editing from The American Film Institute Conservatory.  His work on What We Do In The Shadows was nominated for Best Edited Comedy Series at the 2021 ACE Eddie awards. PATRICK TUCK Patrick Tuck is a versatile editor who most recently edited FX's Dave and Mo for Netflix. Getting his start in the commercial and documentary world, Patrick prides himself on his talent for balancing genres and styles to create unique tones and rhythms, as well as his ability to find solutions for the toughest creative puzzles. Editing Reservation Dogs In our discussion with the RESERVATION DOGS editing team, we talk about: Overwriting the story by a half, so you can cut it down by a third Taking tonal adventures Stringing together "joke pods" Drug tripping just enough to earn a visit from the aliens The Quentin connection The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer Hear Varun Viswanath ACE discuss editing the series BLINDSPOTTING Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Craig Hayes, Varun Viswanath ACE, Chris Chandler and Trevor Penna The Blindspotting editing team of Craig Hayes, Varun Viswanath ACE, Chris Chandler and Trevor Penna collectively crafted a show unique in both its structure as well as its visual style.  On the audio side, the show is underscored by a soundtrack that pays homage to the Bay Area roots of Blindspotting creators, Rafael Casal and Daveed Diggs.  Hayes and Viswanath took on the task of cutting Season One, while Chandler and Penna split editorial duties for the sophomore effort. Taking place six months after the events of the film Blindspotting, the tv series begins with Miles, Ashley's partner of 12 years and father of their son, suddenly being incarcerated.  The situation leaves Ashley to navigate a chaotic and humorous existential crisis when she and her son Sean are forced to move in with Miles' mother and half-sister. CRAIG HAYES Craig Hayes has cemented a career as a spirited and versatile editor. He studied film at Ithaca College in New York, which inspired Craig to hone his craft and move forward in his career.  From there, Craig worked as associate editor on Gus Van Sant's To Die For and M. Night Shyamalan's Lady in the Water, and as assistant editor for Steven Spielberg's War of the Worlds and Quentin Tarantino's Django Unchained.  Craig was also first assistant editor for the award-winning HBO series John Adams.  Craig has recently worked on the critically acclaimed The Hate U Give, directed by George Tillman Jr. as well as being nominated for a best editing award for HBO's Righteous Gemstones. VARUN VISWANATH ACE Varun is a Film & TV Editor based in Los Angeles, CA. He is a member of the American Cinema Editors and the Motion Pictures Editors Guild, and has an MFA in Film Editing from The American Film Institute Conservatory. His work on What We Do In The Shadows was nominated for Best Edited Comedy Series at the 2021 ACE Eddie awards. CHRIS CHANDLER Blindspotting is Chris's first full series as an editor. Prior to this series, he was an assistant and co-editor on FX's Dave, as well as HBO's Curb Your Enthusiasm, which he refers to as his “master class training in comedy and storytelling.” He received an ACE Eddie nomination for his work co-editing the "Curb" Season 11 finale, “The Mormon Advantage,” alongside one of his mentors, Roger Nygard ACE. TREVOR PENNA Trevor began his postproduction career assisting editor Tim Roche on shows such as Curb Your Enthusiasm and WandaVision. Following those jobs he then took on lead editorial duties for the Apple TV+ series, Mythic Quest. Editing Blindspotting In our discussion with the Blindspotting editing team we talk about: Making magic out of monologues Musical misunderstandings with remote editorial Fluidmorph and Animatte...it's all Fluidmorph and Animatte Nailing the needle drops to honor Oakland artists Cutting choreography The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer Meet the editor of the film Blindspotting, Gabe Fleming Hear Trevor Penna talk about his work on Mythic Quest Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

This week I was incredibly excited to welcome Zack Arnold to the show for a great conversation about optimizing your life, avoiding burnout and learning to set the right goals. Zack is an award-winning Hollywood film & television editor known for his work on favorites of mine such as, Cobra Kai, Burn Notice, Empire, Shooter, and Glee. Zac is a member of the American Cinema Editors, an American Ninja Warrior, and creator of the Optimize Yourself program.  Zack uses his experience as a creative professional to produce the Optimize Yourself Podcast which aims to give creative professionals insight into how to love what they do for a living without having to sacrifice their health, relationships, or sanity in the process. The podcast also addresses the specifics of creative burnout and ways to avoid it. Previous Episodes Mentioned in This Installment: Marc Champagne on The Importance of Asking The Right Questions Gretchen Rubin on Expectations, Habits and Happiness James Clear on Building Good Habits and Breaking Bad Ones Support the show by checking out our sponsors! Make sure to grab Shortcasts from Beyond The To-Do List by Blinkist. A Shortcast is a 7-10 min version of the podcast where you get all the core takeaways.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Our riveting conversation with Emmy-nominated editor Lillian E. Benson, ACE is refreshingly reflective and inspirational. With over 80 credits as an editor in film and television, Lillian's career spans over 4 decades. Lillian made history in 1991 when she became the first woman of color to become a member of American Cinema Editors. In 2022, she was honored with an American Cinema Editors Lifetime Achievement Award for not only achieving a prolific body of work throughout her lifetime but also for mentorship. Lillian's credits include the renowned and powerful PBS television series, Eyes on the Prize, Motown 40: The Music Is Forever, Soul Food (Showtime), Roots: Celebrating 25 Years, Celebrate! Christmas with Maya Angelou, Beyond the Steps: Alvin Ailey American Dance, Life Is Not a Fairytale: The Fantasia Barrino Story, Chicago Med, Greenleaf and John Lewis: Get in the Way, to name just a few. Having grown up in Brooklyn, New York, Lillian retraces her early love for art as a child thinking back to 2nd grade and shares how the support and recognition from her family made it okay to 'fool around with art.' She talks about later becoming an art teacher and how a dog-walking gig for someone who was a documentary editor helped create her first internship. Her reflection on the past, a nod to colleagues who helped encourage her along the way and her thoughts on the industry's slow tides of change when it comes to inclusivity and diversity in post-production yields a palpable sense of insight, hope and caution while offering valuable advice for creatives, artists and professionals, alike. Host: David Hunter Jr. | Executive Producers: Daniel K. Hunter, David Hunter Jr, Tatiana M. Johnson | Producers: Eric Johnson, Aurelia Belfield | Editor: Landon T. Bost | Audio Post/Re-recording Mixer: Ryan Virgin | Theme Song: "Sanctuary" by Chvrles | BTS Photography: J Nyce | Produced by Made for More Entertainment in association with Trailblazer Studios and Landon Bost Media. Stay tuned for more episodes of Post In Black's fourth season as we continue to amplify the stories and experiences of Black professionals working in post-production. Look out for new episodes every second and fourth Wednesday. RELATED VIDEOS Post in Black – Season 4: https://youtube.com/playlist?list=PLm2w_b9TK6WAYLhXPNkA52FWM49JEbMwY Post in Black – Season 3: https://youtube.com/playlist?list=PLm2w_b9TK6WDVPHsYggzwBdwOTsJvt5pb Post In Black – Season 2: https://youtube.com/playlist?list=PLm2w_b9TK6WCA1y1AEh-lSn9ga9yZv5sq Post In Black – Season 1: https://youtube.com/playlist?list=PLm2w_b9TK6WBUJGPdXlHNIn8nuQBxri4U CONNECT WITH POST IN BLACK & MADE FOR MORE ENTERTAINMENT https://www.madeformoreent.com/ IG: @PostInBlack & @MadeForMoreEnt Twitter: @PostInBlack & @MadeForMoreEnt FB: @PostInBlack & @MadeForMoreEntertainment SUBSCRIBE TO OUR YOUTUBE CHANNEL https://www.youtube.com/@madeformoreentertainment LISTEN TO THE PODCAST https://anchor.fm/postinblack --- Support this podcast: https://anchor.fm/postinblack/support

Today on Art of the Cut, Steven Spielberg's long-time collaborators - Oscar-winner, Michael Kahn, ACE, and Sarah Broshar, discuss editing “The Fablemans.” Sarah Broshar was nominated for an ACE Eddie for Spielberg's “The Post.” Her credits also include “Ready Player One,” Pet Sematary,” and “West Side Story.” One of Michael Kahn's early jobs as an editor was cutting “Hogan's Heroes.” Then he went on to cut at least 70 feature films. Some highlights: Close Encounters of the Third Kind for which he was nominated for an Oscar, ALL of the Indiana Jones movies for which he won an Oscar for Raiders, Poltergeist, The Goonies, The Color Purple, Fatal Attraction for which he was nominated for another Oscar, Jurassic Park, Schindler's List for which he won another Oscar, Saving Private Ryan - another Oscar win, Lincoln - another Oscar nomination, Ready Player One and West Side Story. And he was honored with the career Achievement Award by American Cinema Editors and probably has enough films since then to get the award again.

This week's episode of the BOXOFFICE AUTOPSY podcast looks at MEMORY's opening and weekend #2 of THE BAD GUYS. Screendollars host Martin Grove puts our OSCAR OUTLOOK spotlight on the American Cinema Editors' unhappiness about the downgrading of its Oscar category. #MemoryMovie #LiamNeeson #TheBadGuys #OscarOutlook #BoxOfficeAutopsy #Podcast #Screendollars

Amy E. Duddleston, ACE has over 30 years of experience in feature and television picture editing. Starting out as an Apprentice Editor, she made her way up to Assistant Editor, working on films like My Own Private Idaho, Corrina, Corrina, and To Die For. As an editor, she has cut 20 features, including High Art, Laurel Canyon, Elegy and Gus Van Sant's remake of Psycho, as well as nearly 80 hours of television on series such as Dexter, The Killing, Vida, Hunters and most recently, Mare of Easttown, for which she received two 2021 Emmy Award nominations. In 2022 she was nominated for two Eddie Awards for limited series editing by the American Cinema Editors, also for Mare of Easttown.She has been a member of the Motion Picture Editors Guild since 1991, and currently serves on the Board of Directors. She is also a member of American Cinema Editors, AMPAS and the Television Academy.On this episode of Screen Culture, Amy recounts how she discovered editing after being “enthralled” by Raging Bull and inspired by the work of editors such as Dede Allen. She shares how her journey as a young apprentice and then assistant editor led her to working out of Gus Van Sant's house during production of the now-iconic My Own Private Idaho, her collaboration with Van Sant on projects including a shot-for-shot remake of Psycho, her work with filmmaker Lisa Cholodenko on films including the groundbreaking High Art, and her recent work in television shaping prestige series such as Mare of Easttown.Amy and Lisa also cover:What it's like to work on a project, like My Own Private Idaho, that becomes culturally iconic: “Most of the time when you're working on something, you just hope people see it”How allowing time for ideas and approaches to percolate is essential in film and TV editing—rushing is the enemy of artThat the process of editing great actors—including Frances McDormand, Kate Winslet, and Patricia Clarkson—is challenging to describe: “You're just trying to follow the rhythms”How Amy turned down an offer to work on Good Will Hunting to edit her friend Lisa Cholodenko's first film, High Art, which became a Sundance sensationHow High Art as an artifact of New Queer Cinema reflected cultural growth, as it's “not a shiny coming-out story,” and how art is essential for “creating space” for new stories and narratives around underrepresented groupsWhat it was like to experience Mare of Easttown's popularity: “The outpouring of love for the show was mind-blowing”Amy is on Twitter as @phantomframe.

Troy Takaki, ACE is a top film editor (and bass player for the punk band The Boneless Ones), who has cut such box office hits as SWEET HOME ALABAMA starring Reese Witherspoon and HITCH starring Will Smith.  He is one of the few picture editors that splits his time between features and television.  He recently edited shows such as YOU  for Netflix and MR. MERCEDES for Direct TV, and is currently editing CHEAPER BY THE DOZEN  for Disney Plus. Aside from working on great projects, Troy has been very active in Hollywood mentoring those in the post production industry. He started the American Cinema Editors' Diversity Mentorship Program after editor Lilian Benson did an informal count several years ago and found that there were fewer than 25 people of color in the organization. In episode 26 of the Hollywood Editing Mentor Podcast, Troy will dive deep into mentoring - what it means to be mentored, how you can mentor other people, and why it's so important in the post production industry. He'll also break down his mentoring process and give advice on how you can find your own mentors. Troy will also tell us about his book "Don't Miss Out On Any Avocado Milkshakes: The Art and Joy of Being a Film Editor" and explain what American Cinema Editors and the ACE Diversity Mentorship Program are all about, as well as how you can become a member of both of these groups.Other topics Troy and I discuss are the importance of cutting projects on the side, how you can break in to Hollywood, why it's best to be in LA in you want to work in film or scripted television, and how you can get bumped up from assistant to editor. Tons of great advice in this one!CLICK HERE to join the Hollywood Editing Mentor community!SUBSCRIBE and leave a 5-star review on Apple Podcasts!Featured Music: "Crossing Over" and "Back To The Grind" by The Boneless OnesOriginal Music: "Apollo's Haze" and "Do You Want" by JesusdapnkFacebook: www.fb.com/jesusdapnkSoundcloud: www.soundcloud.com/jesusdapnkInstagram: @jesusdapnk

Editors - Paul Zucker ACE, Emma McCleave, Calum Ross PAUL ZUCKER ACE (Classic Loki) Prior to making his mark on the MCU, Paul had worked with some of today's most innovative filmmakers; from Harmony Korine (Mister Lonely) and Michel Gondry (Eternal Sunshine of the Spotless Mind, to Lena Dunham (Girls, Camping).  Paul cut his first feature at age 24 for Gus Van Sant (Gerry).  Moving easily between independent and studio projects, he has worked with such noted directors as Tom Dicillo, Joel Schumacher, and Mike Judge (the pilot episode of Silicon Valley). He has also edited two films for Judd Apatow (This is 40 and Trainwreck, for which he received an ACE award nomination). Paul is also an accomplished commercial editor and a member of American Cinema Editors. EMMA McCLEAVE ("Florida" Alligator Loki) Emma McCleave studied at Flinders University Film School in Adelaide, Australia, and within the York University Film program in Canada. On graduation, Emma moved to Sydney where she started her career as a Commercials Assistant Editor, before moving to films in 2008. Through her career Emma trained under some of the most prolific editors in the film industry, including Dody Dorn ACE (Australia, London Boulevard, Fury, Come Away), Michael McCusker ACE (Australia, Captain America: The First Avenger), Chris Dickens ACE (Rocketman), Conrad Buff ACE (Thor: The Dark World, Infinite) and Paul Hirsch ACE (The Mummy). CALUM ROSS (The One True Loki) Calum Ross has been in TV cutting rooms for fourteen years.  Over that time he has routinely taken on one of the most feared genres in editing, comedy.  Calum has been in the cutting rooms of shows such as Pixelface, Murder in Successville, Lovesick, Action Team and his latest work featuring the comedy duo of Sue Perkins and Mel Giedroyc, Hitmen.  But it was his work on the Netflix original series, Sex Education that first introduced him to director Kate Herron, a job that would ultimate land him on Marvel's Loki, once again working with Kate. Editing Loki In our discussion with the Loki editing team of Paul Zucker ACE, Emma McCleave and Calum Ross, we talk about: Editorial Easter Eggs The demands of a Marvel series compared to a Marvel feature Integrating footage from Avengers: End Game to set up the pilot Having to let go of The Frog of Thunder Who is the True Loki The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear the podcast with The Falcon and The Winter Soldier team Meet the Emmy®-nominated editors of WandaVision Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Welcome to another episode of Editors on Editing, presented by American Cinema Editors! On todays episode, Glenn talks with editor Myron Kerstein, ACE about his work on the HBO Max hit film "In the Heights." Myron has edited such films as “Crazy Rich Asians” and “Garden State” as well as episodes of “Girls” and “Home Before Dark." In 2019, he was nominated for an ACE Eddie for his work on "Crazy Rich Asians." We hope you enjoy the episode! Thanks again to ACE for partnering with us on this podcast, check out their website for more. Want to see more interviews from Glenn? Check out "Editors on Editing" here. The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes.

Today's episode is the online master series that took place on September 29th, 2020. Canadian Cinema Editors and American Cinema Editors presented a discussion with animation editor John Venzon, ACE. John Venzon, ACE is a feature film editor who works primarily in Animated Feature films. He was the lead editor on "South Park: Bigger, Longer and Uncut", DreamWorks Animation/Aardman Pictures' "Flushed Away" Warner Animation Group's "Storks",”The Lego Batman Movie” and is currently editing a new animated feature for DreamWorks Animation. This event was moderated by Carolyn Jardina, Tech Editor at the Hollywood Reporter.

For my regular readers & listeners I know I may sound like a broken record at this point, but when it comes to forging your career path in any field it comes down to the same basic components: You need to clearly identify the right ladder to climb. You need to focus on becoming awesome at your craft. You need to make sure the right people know you are awesome at your craft. Having natural talent definitely doesn’t hurt, but talent alone doesn’t automatically entitle you to success. And working on projects you love never happens because of my least favorite word - “luck.” The difference between success and failure almost always comes down to perseverance, consistency, and building solid relationships. Today I’d like to add one additional ingredient that is often overlooked (but is the hidden superpower for longevity as a creative professional). That ingredient is humility. My guest today is a multiple award winning, seasoned film and television editor, Scott Powell, ACE, who is best known for his work on 9 seasons of the Fox series 24 where he was awarded 5 Emmy nominations, 3 American Cinema Editors (Eddie) nominations, and 2 wins. He has since worked on Prison Break, Person of Interest, The Chi, The Orville, and most recently, Queen of the South. But to hear him talk about his career path he's about as humble as they come. Despite believing that “you need to be an a**hole to make it to the top in Hollywood because nice guys finish last,” humility is a valuable asset in any career path you will pursue. In our conversation you'll hear why it's so important to cultivate humility in your own life and the relationships you build throughout your career and how to better do so. Like me, Scott is a natural mentor who has helped many land their dream gigs and offers words to anyone hoping to climb the ladder and become a successful editor in network & streaming television. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: Scott's origin story of becoming an editor. The unusual way Scott got hired on the Fox series 24 KEY TAKEAWAY: Persistence pays off in the editing bay. Why Scott doesn’t have a lot of assistant editor credits on his IMDB profile. How he made an impression on the producer for 24 to get hired. Advice from his dad that has served him well (along with some great stories). Why Scott enjoys mentoring and the mutual benefits it provides to himself and his mentees. What Scott looks for when he's hiring an assistant editor. How his relationships are the foundation of his career. Why Scott has an agent despite his ability to get his own jobs. The value of having an agent and how to build trust and loyalty with an agent. What it would take for Scott to recommend someone for the editor's chair on a show he's on. Scott's advice to someone trying to make it in the industry and what he would change from his own life. Useful Resources Mentioned: Television Documentary Reality TV 24 TV Series Ep137: How to Negotiate Your Real Value (and Advocate For Yourself) As an Assistant Editor | with Scott Jacobs Motion Picture Film Ep85: Mentorship, Networking, and Surviving Hollywood Blockbusters | with Dody Dorn, ACE Continue to Listen & Learn Ep129: How to Cultivate a “Service-Centric” Mindset (and Why It Will Make You More Successful) | with Agustin Rexach Ep106: On the Vital Importance of "Being Nice" | with Jesse Averna, ACE How to Find the Right Type of Mentor For You (and When You Should Seek the Best) How to Go From Cold Contact to Your Ideal Mentor In Seven Simple Steps IMDbPro for Networking: The 10 Features That Will Take Your Outreach to a New Level Ep126: On the Importance of Building Relationships, Asking Questions, and Never Giving Up | with Andi Armaganian Ep117: Carol Littleton, ACE on The Secret to Surviving 40+ Years Working In Hollywood Ep80: How to Avoid Getting Pigeonholed, The ‘Concentric Circles of Networking’ & More | with Doc Crotzer, ACE Ep127: Chasing After the Next Gig vs. Building Your Career | with Kabir Ahktar, ACE Ep87: [CASE STUDY] Why People Don’t Respond to Your Cold Outreach (and How to Get a Response) | with Scott Davis Our Generous Sponsors: Struggling With Real-Time Remote Collaboration? Meet Evercast As work begins to slowly trickle in again, perhaps the most pressing challenge we as creative professionals face in our post-pandemic reality is real-time collaboration. Zoom is great for meetings, but it sure doesn't work for streaming video. Luckily this problem has now been solved for all of us. If you haven't heard of Evercast, it's time to become acquainted. Because Evercast's real-time remote collaboration technology is CHANGING. THE. GAME. → Click here to see a free demo of Evercast in action! This episode was brought to you by Ergodriven, the makers of the Topo Mat (my #1 recommendation for anyone who stands at their workstation) and now their latest product. New Standard Whole Protein is a blend of both whey and collagen, sourced from the highest quality ingredients without any of the unnecessary filler or garbage. Not only will you get more energy and focus from this protein powder, you will notice improvements in your skin, hair, nails, joints and muscles. And because they don’t spend a lot on excessive marketing and advertising expenses, the savings gets passed on to you. Guest Bio: Scott Powell was born in 1958 in Los Angeles. He’s the son of Producer Norman S. Powell and the grand son of entertainers Joan Blondell and Dick Powell. He started his career in 1984 as an apprentice editor and received his first editing credit in 1988. Since then he’s enjoyed a diverse career editing long-form and series TV, feature films, award winning documentaries, commercials, and music videos. He is best known for his work on 9 seasons of the Fox series 24 where he was awarded 5 Emmy nominations, 3 American Cinema Editors (Eddie) nominations and 2 wins. Scott Powell is a current member of the Motion Picture Editors Guild, American Cinema Editors, and the Academy of Television Arts and Sciences. He is also a photographer and owner of North Pond Images, Inc. He lives in Los Angeles with his wife Laurie. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

Rick Tuber was born into a literary family. His father wrote for television in the 50s and 60s and both his brothers were writers. He spent 40 years as a film editor working primarily in television. He worked on many of Hollywood’s icon shows including ER, Crime Story, The Unit, Bones, and countless others. He won Emmy and American Cinema Editors awards for an episode of ER. Working on a show in China changed his life. The show was called Flatland and starred Dennis Hopper. A one-month stay turned into five months. That experience caused him to write his first book at the age of 60, Shanghai Cuts-A Hollywood Film Editor’s Misadventures In China. It documented his time in Shanghai while a family crisis was occurring at home.      Bitten by the writing bug, he wrote his first novel, Should Have Seen It Coming. The noirish comedic murder mystery was based on his own dysfunctional family. Two sequels followed in quick order. Just My F***ing Luck and Well, I’ll Be Damned. Rick 's writing takes you into a captivating world of characters and story lines.

"We want to promote health and wellbeing to editors because they work so hard." - Kevin Tent As the recently elected President of American Cinema Editors (ACE), Kevin Tent is leading the charge to make working smarter instead of harder in the edit bay one of his top priorities. He's dedicated to making changes like taking regular walk breaks, adding in meditation, and even taking an occasional nap (the horror!!!!) to enhance your creativity and get you through the day with more energy left over for your family and yourself when work is done. Kevin describes himself as a "somewhat professional film editor who has worked in Hollywood for nearly 30 years,” who is best known for his collaboration with director Alexander Payne having edited films like Citizen Ruth, Election, About Schmidt, Sideways, Nebraska, Blow, and Girl Interrupted. He has learned the value of taking care of his body and mind while trying to balance the demanding schedules of Hollywood feature films. In our conversation, Kevin and I talk candidly about the habits he's implemented for better health and creativity while editing (many of which came about from learning the hard way from years of neglect). He also clears up the confusion about the American Cinema Editors organization and details how someone can qualify and become a member. And most importantly he speaks honestly about the value of becoming an ACE member and the benefits that doing so can have on your well-being and career (Hint: It's not to boost your career or find more jobs). If you want to know how one of the top names in the feature editing game stays sharp and continues to work at such a high level, today’s conversation is for you. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: Kevin's origin story of how he got started editing. How ten years of editing for Roger Corman made him an "overnight success" after the success of Election. The steps he took to avoid getting pigeonholed. Kevin wants to use ACE to promote healthy lifestyles in post production. KEY TAKEAWAY: Exercise and meditation habits stick when it is something you want to do rather than something you have to do. His morning bike ride often gets him out of creative blocks in scenes. Afternoon walks with Alexander Payne are creatively beneficial for both of them while working on a movie. Kevin uses naps to give him a renewed sense of energy. KEY TAKEAWAY: All the best ideas happen when you're away from the computer. He wants to influence people to understand it is healthy to take walks and breaks during your day. The political instigator that got Kevin to start a meditation practice. The types of meditation he's tried and the benefits he's gained from a regular practice. The myriad of soft skills necessary for an editor to have and how meditation compliments these skills. Why editors are so undervalued and not treated as the integral creatives that they are. Director Alexander Payne has a deep respect for editors on his films. Being invisible artists makes it hard to get the credit we deserve. Kevin describes what ACE is, the history of how it began, and how you can join. Best advice for anyone who wants to edit big feature films like Kevin. Useful Resources Mentioned: American Cinema Editors ACE Member Directory Requirements for Joining ACE Continue to Listen & Learn Ep55: How Tiny Changes Can Create Remarkable Results | with James Clear Ep132: How to Pursue Fulfilling Work and Find Your ‘Calling’ | with Dr. Tal Ben-Shahar Ep80: How to Avoid Getting Pigeonholed, The ‘Concentric Circles of Networking’ & More | with Doc Crotzer, ACE Ep03: The Science Behind Success and Creative Burnout (And Why You’re Approaching Both Mostly Wrong) | with Eric Barker Struggling to “Do” It All? Try “Being” First. (Three Strategies to Reclaim Your Time and Sanity When Working From Home) Our Generous Sponsors: Struggling With Real-Time Remote Collaboration? Meet Evercast As work begins to slowly trickle in again, perhaps the most pressing challenge we as creative professionals face in our post-pandemic reality is real-time collaboration. Zoom is great for meetings, but it sure doesn't work for streaming video. Luckily this problem has now been solved for all of us. If you haven't heard of Evercast, it's time to become acquainted. Because Evercast's real-time remote collaboration technology is CHANGING. THE. GAME. » Click here to be the first to gain early access to the new Evercast P.S. It's (finally) priced for freelancers and indie creatives like us! This episode was brought to you by Ergodriven, the makers of the Topo Mat (my #1 recommendation for anyone who stands at their workstation) and now their latest product. New Standard Whole Protein is a blend of both whey and collagen, sourced from the highest quality ingredients without any of the unnecessary filler or garbage. Not only will you get more energy and focus from this protein powder, you will notice improvements in your skin, hair, nails, joints and muscles. And because they don’t spend a lot on excessive marketing and advertising expenses, the savings gets passed on to you. [optin-monster slug="u1u6n4yv97rxxz4icynf"] Guest Bio: Kevin Tent (ACE) has been a somewhat professional film editor in Hollywood for nearly 30 years. He is best known for his long time collaboration with director Alexander Payne. Their first collaboration was on Payne’s Sundance hit “Citizen Ruth,” starring Laura Dern. Followed by the critical hit “Election” staring Reese Witherspoon (for which Tent earned his first American Cinema Editor’s nomination). Tent received his second ACE nomination for “About Schmidt” starring Jack Nicholson and his third for “Sideways” starring Thomas Haden Church & Paul Giamati. In 2011 Tent was nominated for both an ACE and an Academy Award® for his editing on “The Descendants”, starring George Clooney. He won the Eddie for best dramatic film of 2011. He was also nominated for an ACE award for his work on “Nebraska” in 2014 and worked with Payne on his most recent film “Downsizing” staring Matt Damon. After attending Los Angeles City College’s film school, Tent got his first break working for legendary B-movie producer Roger Corman cutting classic films like “Emmanuelle 5” and “Not of This Earth”. While continuing to hone his skills in the throws of B-movies, Tent also tapped into the emerging Independent film movement in the US. Cutting the underground hit “Guncrazy” directed by Tamra Davis and the above mentioned “Citizen Ruth” by Payne. Some of Tent’s other credits include “Blow” the late Ted Demme’s drug epic staring Johnny Depp and Penelope Cruz. James Mangold’s “Girl Interrupted” staring Winona Ryder and Angelina Jolie, (Jolie winning an academy award for her performance). “Disconnect” directed by Henry Alex Rubin, “Welcome To Me” starring Kristin Wigg and “Parched” a foreign language film by Indian director Leena Yadav. More recently Tent’s credits include “Otherhood” from director Cindy Chupack & producer Cathy Schulman and “The Peanut Butter Falcon” staring Shia LaBeouf and Zack Gottsagen. Tent has worked with director Barry Sonnenfeld numerous times, Nancy Meyers on the “The Intern” and Martin Scorsese on his short film “The Audition”. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

Do you want know what it's like to edit comedy TV shows and films? Or learn more about the methods and secrets behind producing award winning comedy? Well, you'll want to stick around until the end of my interview with editor Ant Boys A.C.E. A member of American Cinema Editors, Ant Boys is one of the U.K's most accomplished TV editors, having made a career editing some of the most recognisable comedies on British TV and around around the world. Shows such as The Great, Veep, Charlie Brooker's Weekly Wipe and The Thick of It, to name but a few and also films such as Absolutely Fabulous: The Movie and The Hustle. In this interview we take a deep dive on the methods of editing comedy, talk editing workflows and shortcuts, the benefits of having an agent and as usual, there is plenty of advice for those who are looking to further their careers in the industry. Ant Boys Imdb: https://www.imdb.com/name/nm2363648/?ref_=fn_al_nm_1 This episode is sponsored by Gorilla. Visit https://gorillagroup.tv/ for more info

Happy New Year IFH Tribe! We are starting 2021 with a bang. Today on the show with have Zack Arnold, an award-winning Hollywood film & television editor (Cobra Kai, Burn Notice, Empire, Shooter, Glee), member of the American Cinema Editors, a documentary director GO FAR: The Christopher Rush Story, narrated by Mark Hamill), and creator of the Optimize Yourself program and podcast.Zach has been working on the #1 Netflix show Cobra Kai since season 2. If you haven't heard of Cobra Kai here's the skinny.Thirty-four years after the events of the 1984 All Valley Karate Tournament, a down-and-out Johnny Lawrence seeks redemption by reopening the infamous Cobra Kai dojo, reigniting his rivalry with a now-successful Daniel LaRusso.Zack and I talk about Cobra Kai, how he became a healthy editor, what it was like working on some of the top shows on television, and how he retired early from editing, except Cobra Kai, of course, to run his own lucrative online business helping creatives optimize themselves.Enjoy my conversation with Zack Arnold.

One of the many fears this pandemic has magnified is that we can’t possibly focus on our careers and work at the highest level while also having time to be parents, partners, and well-rounded individuals. And with the transition to working from home, navigating this challenge has become even more complicated. Today, I’m talking with ACE editor Farrel Levy who has worked at a high level her whole career moving between features and television, working on shows like Nashville, NYPD Blue, and Criminal Minds. She was already a mom when she got her start in the business so she’s spent many years perfecting the balancing act. To say she is passionate about advocating that family and career are not mutually exclusive would be an understatement. Her passion comes from having successfully balanced the two for much of her career while also mentoring many others in the business working hard to do the same. In Farrel’s own words she firmly believes: “You can be proud of the work that you do and also proud of the fact that you’ve had a good life.” Farrel and I dive deep into the topic of work-life balance in Hollywood as well as many others including, mentorship, burnout, and choosing the right jobs to match your personal needs. If you’re a parent struggling to choose the next step in your career because you believe “it just can’t be done,” please listen to Farrel before believing that you can’t. Because she and I are both convinced that you absolutely CAN. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here’s What You’ll Learn: How Farrel got into the film business in New York. The criteria she used for choosing jobs so she could get home to her daughter at night. The surprise hit film that Farrel got her big break on and how it came about. How important it is to let people know what you want and be proactive. Why Farrel enjoys mentoring and seeing the success of those she’s mentored. Being a student of Farrel’s has often led to career success. The responsibility of the mentor to push the mentee, even if it means losing them as your assistant. Farrel’s advice for reaching out to a mentor and developing that relationship. KEY TAKEAWAY: The soft skills are a much bigger part of the job than most people realize. What Farrel means by calling a successful editor a chameleon. KEY TAKEAWAY: Persistence and patience is critical when networking and finding mentors. How to navigate being a parent while also managing your career. Why she made the switch from features to television. What Farrel tells parents who are afraid that they can’t both be a good parent and work on scripted series. The criteria for determining whether a job will meet your lifestyle needs. Addressing the difficult tension between knowing a job is not the right fit and gracefully turning it down. Farrel’s perspective on how to handle the disappointment of not getting the job you want. Why it’s important to consider the cost of taking a job rather than what it pays you. Continue Listening & Learning: Ep118: Legendary Editor Walter Murch On Optimizing Creativity, Productivity, and Well-Being In Hollywood For 50+ Years Ep85: Mentorship, Networking, and Surviving Hollywood Blockbusters | with Dody Dorn, ACE Ep126: On the Importance of Building Relationships, Asking Questions, and Never Giving Up | with Andi Armaganian Ep111: Parenting In a Post-Pandemic Hollywood | with Natalie Boschan, Bari Winter, Yvette Amirian ACE, and Monica Daniel Redefining Parenting to Stay Sane While Working From Home [Podcast] Ep82: Parenting In Post Our Generous Sponsors: Struggling With Real-Time Remote Collaboration? Meet Evercast As work begins to slowly trickle in again, perhaps the most pressing challenge we as creative professionals face in our post-pandemic reality is real-time collaboration. Zoom is great for meetings, but it sure doesn’t work for streaming video. Luckily this problem has now been solved for all of us. If you haven’t heard of Evercast, it’s time to become acquainted. Because Evercast’s real-time remote collaboration technology is CHANGING. THE. GAME. » Click here to be the first to gain early access to the new Evercast P.S. It’s (finally) priced for freelancers and indie creatives like us! This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat. Guest Bio: FARREL LEVY Farrel Jane Levy ACE was trained as an artist at Cooper Union. She has made a career as a film and television editor. She got her editing break on “Dirty Dancing.” She worked all 12 seasons on the multiple Emmy award winning television show, “NYPD Blue” where she was able to learn from television legends Steven Bochco and David Milch. She became NYPD Blue’s supervising editor and she helped create its distinctive editing style. Farrel was also given the opportunity to direct 3 episodes. She then went on to edit “Criminal Minds” for several seasons. Pilots she edited include “Brooklyn South” and “Blind Justice” for Milch and for Bochco; “Melrose Place,” “The Defenders,” and “The Unit” with Academy award winning director, David Guggenheim, and writers Shawn Ryan and David Mamet; and “Person of Interest” written by Jonathan Nolan. She worked on fan fave “Damages,” and edited all 5 seasons on another fan fave, “Nashville.” From there worked on the Netflix show, “The Society.” Features she has edited include “Across the Tracks,” starring a young Brad Pitt, “Ernest Goes to Jail,” “Confessions of a Sexist Pig,” and “Primal Fear,” and “Evan’s Crime.” Farrel taught editing at The American Film Institute for over 20 years. In addition, Farrel is a founder and the lead editor of Look What SHE Did!, an organization with the mission of inspiring women and girls to greatness by bringing to light stories of remarkable women who changed the world. Look What SHE Did! creates short films and events featuring female storytellers celebrating women who inspire them. She is a member of the Motion Picture Editors Guild, where she is active on the Women’s Committee, the Director’s Guild and the American Cinema Editors. She is the mother of two daughters who never cease to make her proud. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

Editing Back To The Future - To celebrate the 35th Anniversary of its release here's our latest video, an interview with Back to the Future editor Arthur Schmidt, ACE. Editing some of the most successful and critically acclaimed films of all time, Artie has won the Best Editing OSCAR twice for "Who Framed Roger Rabbit" and "Forrest Gump," the Television Academy's Emmy Award, has been nominated several times by the British Film Academy, (BAFTA) and in 2009 received the American Cinema Editors, (ACE) Career Achievement Award. Filled with insights from one the most respected people in the craft, you'll love hearing from this celebrated editor about his work. See the video of this interview at: https://youtu.be/tw5Qv9BRJL8

It’s an understatement to say Hollywood is undergoing major changes right now, but are these circumstances unprecedented? I argue things have changed a lot less than we want to believe over the last few months, the major difference is our level of awareness. And what we’ve become keenly aware of is how badly none of us want to go back to normal. There’s no question the pandemic has caused upheaval and instability, leaving us all wondering if we’ll weather the storm or sink with the ship. As the industry attempts to reopen, we grapple with difficult changes like working from home, safety protocols for returning to set or to the office, and setting boundaries for the health and sanity of ourselves and families. Though the change and uncertainty we’re all experiencing might feel new, it’s surprising how little things in our industry have actually changed over the last several decades, specifically in regards to the working conditions and the insane demands put upon our time.Today’s guest, Oscar nominated editor Carol Littleton, ACE, who has edited such legendary films as E.T., The Big Chill, Silverado, The Accidental Tourist, Grand Canyon, Benny & Joon, and The Manchurian Candidate, has endured many changes in her long career in Hollywood. She worked her way into commercials, to indie films, all the way up the ranks to working with some of the best directors in the industry. She successfully made the transition from film to digital, but it was that change that required a greater focus on her movement habits and healthy lifestyle choices to sustain her career and well-being. These habits have contributed to her vitality for her work and her zest for life that you will hear throughout our conversation. This is the second in our series of archive conversations from the ‘Fitness in Post’ days with hollywood film legends where we clearly see that living a healthy lifestyle, weathering major industry changes, and enjoying a long and successful career are not mutually exclusive (pandemic or otherwise). Learn from the cream of the crop how to be resilient and gracious in the face of adversity, no matter how uncomfortable the circumstances. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: Carol got her first feature film because...she spoke French? How she went from working on small independent features to working with big Hollywood directors like Stephen Spielberg and Lawrence Kasdan The big question: How did she get her break cutting E.T.??? What the biggest creative challenge was in making E.T. a successful story. The biggest difference between editing on film to editing on an NLE system (and what has been lost in the process). How Carolapproaches a day of dailies and cuts a scene. How the physicality of working on film kept her in shape and active all day long. The switch to Avid drove her crazy because she was so sedentary!!! The difference between your mental agility and acuity is immense when you are sedentary vs being mobile. Sleep, diet, and exercise are her top priorities to stay sharp and creative. How to fight the fear of thinking that if you stop to take a break from work you won’t get everything done (it’s real, but you can overcome it). Turn your work into your exercise to tax your body just enough that it will free your mind to work at its optimal performance level. KEY TAKEAWAY: Eating healthy will make you resilient and capable of handling the ups and downs of the industry. KEY TAKEAWAY: Eating intentionally, mindfully, and with others is the secret to staying energized throughout the day and keeping morale high. Carol’s passion for long walks has taken her through cities and countries across the globe. Useful Resources Mentioned: Ep60: Legendary Film Editor Walter Murch On Surviving 50+ Years In Post Ep50: EditFest 2018 Panel “The Extended Cut: How to Survive and Thrive In Editorial” Our Generous Sponsors: Struggling With Real-Time Remote Collaboration? Meet Evercast As work begins to slowly trickle in again, perhaps the most pressing challenge we as creative professionals face in our post-pandemic reality is real-time collaboration. Zoom is great for meetings, but it sure doesn't work for streaming video. Luckily this problem has now been solved for all of us. If you haven't heard of Evercast, it's time to become acquainted. Because Evercast's real-time remote collaboration technology is CHANGING. THE. GAME. » Click here to be the first to gain early access to the new Evercast P.S. It's (finally) priced for freelancers and indie creatives like us! This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat. Guest Bio: Carol Littleton, A.C.E. is one of Hollywood’s most talented and successful film editors. Her editing career spans 40 years, with more than 40 feature films to her credit. Ms. Littleton began a close collaboration with writer-director Lawrence Kasdan in 1981 with his directorial debut, BODY HEAT. She continued her collaboration with Kasdan on eight more films, including THE BIG CHILL, SILVERADO, GRAND CANYON, and their last collaboration on DARLING COMPANION in 2011. Ms. Littleton has also collaborated with director Jonathan Demme on four films, including, THE MANCHURIAN CANDIDATE. Littleton received an Academy Award nomination in 1982 for Steven Spielberg’s E.T.: THE EXTRATERRESTIAL. Other films she has edited include PLACES IN THE HEART, TUESDAYS WITH MORRIE (Emmy Award for editing) and the restoration of Erich Von Stoheim’s 1926 classic, GREED. In 1994, she edited CHINA MOON, the directorial debut of her husband, noted cinematographer John Bailey, A.S.C. More recently, the 2015 release of A WALK IN THE WOODS was Littleton’s second collaboration with director Ken Kwapis. In 2016, Littleton edited her first collaboration with director Jay Roach on ALL THE WAY, a political film dramatizing the first 11 months of President Lyndon Johnson’s presidency after Kennedy’s assassination in 1963. In 1988, Littleton was elected President of the Editors Guild and served two terms and later in 1998, two terms as Vice President. The Editors Guild honored Ms. Littleton in 2010 with the Fellowship and Service Award. In 2016, the American Cinema Editors honored Ms. Littleton with its Career Achievement Award. Littleton is presently serving on the Board of Governors for AMPAS and on the Board of Directors for ACE. Ms. Littleton has two other passions in life: music and nature. Throughout her college years, she played oboe in various chamber groups and orchestras and still has an abiding love of concert music. Her formative years growing up in rural Oklahoma, gave her an intimate love of nature. Healthy, hands-in-the-dirt gardening and lug-soled hiking are the perfect antidotes for the dark editing room. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

For some reason there seems to be this fallacy in Hollywood that someone has to “give you your big break” in order to make it in the industry, and in the meantime you’re just waiting for your big break to appear. The idea that you have to be in the right place at the right time, or worst of all, that you just need to have a lot of “luck” to make your dreams a reality (and you all know how I feel about the “L word”) must be a myth, right? Today’s guest is here to debunk that myth that success is about waiting for opportunity but instead all about making sure no one can outwork you, making sure you are ready for opportunities when they become available, and most importantly never giving someone the opportunity to tell you ‘No.’ James Wilcox is an African-American award-winning editor who’s edited such shows as Dark Angel, My Wife and Kids, Everybody Loves Chris, CSI Miami, Hawaii 5-0, Roots, Genius, and he’s recently completed Ron Howard’s new film Hillbilly Elegy, to literally name just a few. (Seriously, look up his IMDb page). What’s so fascinating about James’ path is that he’s made numerous transitions in his career including cutting news, comedy, drama, historical fiction, and feature films. In addition to such a wide variety of experience, James also sees himself as a pioneer for black editors and talks about the importance of providing mentorship to other people of color. In today’s conversation we cover topics like: How James prepares himself to be ready for opportunities when they are offered Why he sees himself as a pioneer for black editors and the importance of providing mentorship to other people of color The delicate balance of working hard and playing hard And the many stories of how he forged his varied and successful career path including how he became Ron Howard’s editor If you enjoyed my episode with Monty DeGraff, you’re going to love this one. James is talented, funny, and chock full of stories that give you an inside look at how to not only build a successful and inspiring career but also how to mentor others while leaving time and energy for your health and well-being. In short, James has mastered the balance of both working hard and playing hard. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here’s What You’ll Learn: Early on James discovered that shortcuts didn’t work for him and that to be successful, “no one would out work him” A “double-edged sword”: How his relentless work ethic has been both a gift and a curse The story of how James went from wanting to be a doctor, then a baseball player, and finally, to becoming an editor. James got his first opportunity in the News business. The three skills needed to be a solid news editor: Speed. Creativity. Accuracy. These skills helped him down the road. Why James studied acting for 3 and half years when he moved to Los Angeles and how that was part of his journey to scripted television editing and directing. His mantra: “Don’t give anyone a reason to tell you no.” KEY TAKEAWAY: Always be ready and prepared for the next opportunity so when it presents itself you can seize it. His dad’s advice: If you’re thorough you can’t be denied. KEY TAKEAWAY: We all have to ask ourselves how do we get better at fostering diversity and opportunity for people of color in the industry? James believes there is a rapid awakening right now on a global level and the George Floyd murder has inspired activism and change. His passion for mentoring and supporting people of color is a big part of how he hires his assistant editors. One of the key skills his last assistant editor had that he values and appreciates. The unbelievable story of James getting to work with Ron Howard on the Emmy nominated series Genius and then getting to work on his new movie, Hillbilly Elegy. KEY TAKEAWAY: Don’t always expect your payoff to come from the thing you are investing in. What the Marshmallow experiment teaches us about patience relative to success. James’ advice to POC looking to advance their careers and make it in Hollywood. Useful Resources Mentioned: Ep107: Recognizing, Mentoring, and Promoting Diversity In Hollywood | with Monty DeGraff, ACE Ep114: Breaking Into (and Making It) In the Industry as People of Color | with Mirra Watkins, Ariel Brown, and Isaiah Cary Stanford Marshmallow Experiment Ep39: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 1) Ep40: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 2) Our Generous Sponsors: Special thanks to our sponsor Evercast for making today’s interview possible. To learn more about how to collaborate remotely without missing a frame, and to get your real-time demo of Evercast in action, visit OptimizeYourself.me/evercast Guest Bio: James D. Wilcox, ACE began his editing career in Atlanta, Georgia in 1982. An opportunity with CBS NEWS in Los Angeles moved James to California where he covered events that ranged from Pope John Paul’s U.S. Tour and the 1984 Olympics to the Reagan-Gorbachev Summit. During his tenure at CBS, James produced and edited the Emmy Award-Winning documentary series, “Lip Sync” which exposed the 1991 Milli-Vanilli Grammy scandal. By 1999, James had transitioned into scripted television with a wide variety of shows including: Showtime’s “Soul Food”, FOX’s “Dark Angel”, Comedy Central’s “Reno 911!”, UPN’s “Everybody Hates Chris”, CBS’s “CSI: Miami,” “Hawaii Five-0” and ABC’s “My Wife and Kids” where he began his directing career. In 2016, Wilcox teamed up with Director Mario Van Peebles on “Roots” which was nominated for an Emmy in Outstanding Limited Series. Following the nomination, Wilcox collaborated with director Ron Howard on Nat Geo’s “Genius” which gained two more Emmy nominations for Outstanding Limited-Series in 2017 and 2018. That January, James took home the ACE Eddie Award for “Best Edited Miniseries or Motion Picture for Television” for his work on “Genius: Einstein.” More recent work by James includes the Netflix series “Raising Dion” starring Michael B. Jordan, as well as the pilot of “Filthy Rich” directed by Tate Taylor (“The Help”, “Ma”) which premieres this year on FOX Television. Currently, James is working again with Ron Howard and Imagine Entertainment, cutting Netflix’s “Hillbilly Elegy” (due for release in 2020). James is an active member of the Motion Picture Editors Guild (MPEG), the Academy of Television Arts & Sciences Picture Editors Peer Group, American Cinema Editors, and The Directors Guild of America. On his craft, James has said, “I strive to be the best and tell the story I’d pay to see. When I edit, I won’t settle for just good enough.” Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

With work in the entertainment industry slowly beginning to trickle in and productions ramping up over the coming weeks and months, you’d think we could all just “go back to normal,” right? WRONG. The new version of post-pandemic work is going to be anything but normal (and frankly Normal. Wasn’t. Working), and for one very specific group, this is uncharted (and terrifying) territory: Parents. In the latest ‘Optimizer’ community Q&A, our community welcomes four hardworking moms in various stages of their careers in the entertainment industry. Editor Yvette Amirian (ACE), Editor Natalie Boschan, Editor/AE Monica Daniel, and Assistant Editor Bari Winter have all been simultaneously juggling busy careers while also doing their best to raise children during a global pandemic. We talk about how we can balance the vast needs of Hollywood production while still doing our best to be present parents. We discuss tips and strategies for handling this delicate balancing act. My guests also share their fears and hopes about navigating pre-pandemic expectations in a post-pandemic working world. In this very candid conversation, we cover many topics including: How can we balance the vast needs of Hollywood production and post-production when we’re still homeschooling our kids, daycare isn’t open, or we can’t afford a nanny anymore? Will working from home mean that we NEVER get any time away from the office to be a parent because of endless emails and texts where people need things 24/7? Will people be less likely to hire me again if I’m a parent working from home? Whether you are a parent or not, this conversation will address the issues of managing and sustaining Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here’s What You’ll Learn: “Real-life” insight into balancing parenting and work obligations when it feels impossible How to tackle the question of getting a nanny during a pandemic and the importance of separating work and child care duties when working from home The best ways to make sure your kids are actively engaged in learning while you work from home (so that they don’t get left behind academically) How to keep yourself healthy and avoid burnout from trying to be “supermom” (or dad) Why normal wasn’t working for parents and how we will literally kill ourselves if we try to resume the status quo The real reasons moms tend to put themselves last and feel obligated to take care of everyone else first What the “theatre of work” is and how we need to teach producers to let us manage our own time How to set boundaries when working from home by communicating clearly and confidently Productivity tips on creating effective workflows so everyone is on the same page with boundaries and communication The different standards between being a mom in the workplace versus being a dad (and how moms have to navigate that) FACT: It’s harder for moms to get hired. When women reveal they have children, are they being explicitly discriminated against? Managing the dynamics of juggling family activities, finances, career advancement, and job obligations Why “time is the great equalizer” (everyone has the same amount of it) and how to use that to your advantage when setting expectations Detailed strategies for dealing with guilt about missing bedtimes or activities How to communicate with your kids the importance of taking time for yourself The valuable mindset shift of “work/life presence” vs. “work/life balance” Useful Resources Mentioned: EP 99: How to Provide Value and Get Paid What You’re Worth with Monica Daniel Fitness in Post Q&A with Natalie Boschan: Career Vs. Family Dear Hollywood: We Don’t Want to “Go Back to Normal.” Normal Wasn’t Working. Guest Bios: NATALIE BOSCHAN Natalie is an editor working in scripted television. She started her career editing short form content including trailers, DVD content and marketing videos for major motion picture releases. She made the move to scripted television as an assistant editor on season 7 of Burn Notice. After working on several series as an AE including Once Upon A Time, Empire, Shooter and Punisher she made the leap to Editor on season 2 of Shooter. Since then her editing credits have included Stargirl, LA’s Finest and Star. In between all that editing, Natalie has found time to become a mom to a lovely 2 year old boy. She’s done her best to balance family and work, but there are always challenges and she hopes to be apart of the solution to help parents working in post overcome some of those challenges. BARI WINTER Bari Winter is an accomplished television assistant editor. She started in news, sports and reality tv eventually moving into scripted television. Her credits include The Middle (ABC), Bluff City Law (ABC), and most recently season 2 of Doom Patrol (HBO Max). Bari is currently taking Zack Arnold’s Focus Yourself course with the goal of moving into the editors chair in the near future. Bari has a BFA from the School of Visual Arts in New York City. YVETTE AMIRIAN Yvette M. Amirian, ACE is an award-nominated film and television editor. After graduating from USC’s School of Cinema-Television, she built a successful career, and has been transitioning seamlessly between cutting scripted and documentary content for the better part of two decades. In 2011, she and her team received an Eddie Award nomination from the American Cinema Editors for their work on Animal Planet’s Whale Wars. In 2017, she edited and produced John Singleton’s L.A. Burning: The Riots 25 Years Later for A&E, which was nominated for a Primetime Emmy (Outstanding Documentary Special). Yvette is a proud member of the Motion Picture Editor’s Guild, the Academy of TV Arts & Sciences, and the American Cinema Editors (ACE). She also teaches editing at USC’s School of Cinematic Arts, and loves educating future generations of aspiring filmmakers. Yvette lives in Los Angeles with her husband and two sons. MONICA DANIEL Monica Daniel has edited various genres of television that have been broadcast worldwide over the last decade. She is known for her “sh*tting sparkles” slogan from her award show red carpet work. She recently transitioned from editing reality television into a high level scripted network show, and our conversation today breaks down her journey and how you can walk away with actionable steps to make the same transition, regardless of your situation. Show Credits: This episode was edited by Chris Orsi, and the show notes were prepared by Debby Germino and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

So many working in post-production around the world are obsessed with making the transition from being an assistant to being an editor. But does the journey end once you’re sitting in the editor’s chair? Or has the journey just begun? Editor and director Susan Vaill, ACE (Space Force, Gray’s Anatomy, This Is Us) has been helping to answer these questions as a mentor to many in scripted entertainment in Hollywood, and she’s become so passionate about the subject of helping assistant make the transition (and stick the landing, so to speak) that she even recently lead an Editor’s Guild panel titled “Bumped Up: The Leadership Workshop for New Editors.” So what are the most important questions that assistants who’ve recently been promoted into the editor’s chair don’t know to ask? What surprises might come their way they aren’t prepared for? What politics should they be aware of? What soft skills are necessary to build relationships and get invited back to jobs in the future? And if you haven’t made the transition yet but you are oh so close!!!, then what differentiates you from other people vying for the same position (especially if they have more experience than you)? What can you do to stand out? NOTE: This interview was conducted shortly before the pandemic struck (early March, 2020), so as you’re listening keep that in mind as we discuss her upcoming panels and general networking strategies. Want to Hear More Episodes Like This One? » Click here to subscribe and never miss another episode Here's What You'll Learn: The fun story of how Susan and her twin sister ended up in a classic Double Mint Gum commercial in the ’80s. Susan’s amazing origin story and how just ONE experience with deck to deck editing in high school gave her the power to “see the matrix” and recognize editing ‘tricks’ in films & television shows early on in life. How a documentary job 20 years ago directly led to her working on Space Force today. The pivotal moment where Susan realized she had a lot more to offer than what was on her resume. And how she leveraged her unique perspective, background, and personality to make her resume so compelling that it jumpstarted her career. Hot Tip: Inject your personality into your resume! How Susan’s passion and life experiences motivated her to spearhead the panel on moving from Assistant Editor to Editor called ‘Bumped Up: the Leadership Workshop for New Editors’. Why the most common question she gets at her panels may surprise you. What compels Susan to put on these panels and give back to people in the industry. How she thinks about the difficulty of Assistant Editors moving to Editor in the current environment where they aren’t really gaining the creative skills it requires. Why Editors have to be proactive about mentoring their Assistant Editors to get the next generation ready to be our peers. The benefits of making a habit of getting away and taking lunch together. Why it’s so important to create a really comfortable, safe working place of your edit bay. F.A.I.L. = First Attempt in Learning. NOTE: Susan’s panel is limited to 30 participants, but they’ll do them every 3 months. Keep an eye on MPEG's events calendar page. Useful Resources Mentioned: Ep69: Cobra Kai…Inside the Edit Suite | with Jon Hurtwitz, Josh Heald, and Hayden Schlossberg Ep85: Mentorship, Networking, and Surviving Hollywood Blockbusters | with Dody Dorn, ACE Ep70: To Assist or Not to Assist...That Is the Question (pt 1) | with Chris Cavanagh Ep39: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 1) Ep40: Breaking “Bad” From Assistant to Editor | with Kelley Dixon, ACE (pt 2) Our Generous Sponsors: This episode is made possible for you by Ergodriven, the makers of the Topo Mat, my #1 recommendation for anyone who stands at their workstation. The Topo is super comfortable, an awesome conversation starter, and it’s also scientifically proven to help you move more throughout the day which helps reduce discomfort and also increase your focus and productivity. Click here to learn more and get your Topo Mat. Guest Bio: Susan Vaill, ACE, is an editor of both comedy and drama series, including This Is Us, Lodge 49 and the upcoming Space Force on Netflix. She has edited six television pilots and helped launch five shows in their first season. Born and raised in Los Angeles, Susan appeared with her twin sister Sarah in an ‘80s Doublemint gum commercial and the Hal Ashby film Bound For Glory. She studied film theory and art history at Williams College and got an MFA in film production at USC. After assistant-editing documentaries and feature films like The Last Samurai, Susan edited over 70 episodes of Grey’s Anatomy which won the Golden Globe for Best Drama Series in 2008. Susan also directed three episodes of the series, in which Loretta Devine gave a guest performance that earned her an Emmy in 2011. More recently, Susan turned to comedy, editing the half-hour series Grandfathered, Me, Myself & I, and the upcoming comedy Space Force, created by Greg Daniels and Steve Carrell. She also edited the legal drama Doubt, the award-winning mega-hit This Is Us, and the critically acclaimed AMC dramedy Lodge 49. Two of Susan’s episodes of Lodge 49 earned spots on The New York Times’ and Entertainment Weekly’s year-end lists of Best Episodes of Television of 2019. In 2018, Susan was elected to the society of American Cinema Editors, and in 2019 she spearheaded ‘Bumped Up: the Leadership Workshop for New Editors’, co-sponsored by ACE and the Editors Guild, which she leads 2-3 times a year. Susan’s interests include golf and music-driven story-telling, and her favorite karaoke song is “I’m On A Boat” by The Lonely Island. Show Credits: This episode was edited by Curtis Fritsch, and the show notes were prepared and published by Glen McNiel. The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet). Note: I believe in 100% transparency, so please note that I receive a small commission if you purchase products from some of the links on this page (at no additional cost to you). Your support is what helps keep this program alive. If you have any questions, please don’t hesitate to contact me.

Unscripted TV veteran Ed Servaites is our special guest on this week's Rough Cut podcast.  As lead editor and Creative Director at Burnish Creative, Ed has helped bring shows like The Masked Singer, America's Got Talent and Dancing with the Stars to massive audiences every week.  Ed talks about the tools and techniques he uses to keep his editing team in sync and on time, and why he hasn't used a master clip in years.  We talk about "super teases, string-outs, day stacks" and all the things that go into posting the biggest shows in reality television.  All that and how to get a job via Instagram!  Plus, editor Steve Audette, ACE calls in to give us the "post" mortem on his remote editing workflow for the latest Frontline feature. See what's new in Avid Media Composer 2020.4 with our pal, Burbank Mike Krulik. Subscribe to The Rough Cut podcast and never miss an episode! Watch Frontline's Covid-19 episode here. Learn about the American Cinema Editors internship program. Learn about the Academy of TV Arts & Sciences internship program. Listen to our panel discussion on unscripted tv editing. Check out our podcast with NBC's The Voice. Send me your feedback at matt@theroughcutpod.com or even better, call and leave me a message at (781) 334-8369.  

Benjamin started in animation, his great passion, by editing television series and short films. Benjamin then moved into feature films, and has worked different talents in French animation, including on features, The Big Bad Fox and Other Tales and Pachamama. His film credits include Long Way North by Remi Chaye, and Jeremy Clapin's acclaimed Academy Award nominated and Annie winning, I Lost my Body, for which Benjamin was nominated for an American Cinema Editors award. Benjamin's other upcoming projects include editing Little Vampire for director Joann Sfar, Calamity, for Remi Chaye, and his first feature film as a director, Saba, with Alexis Ducord.

In this episode of the "Sight, Sound & Story" Podcast we will go Inside the Cutting Room with author and film historian Bobbie Osteen for a panel highlighting the career of legendary Oscar-winning feature film editor Anne Coates, ACE. Five Academy Award Nominations and one Academy Award, an editor of 54 films; Anne made huge waves thanks to her incredible eye for a good cut and her talent for adapting to the needs of a variety of directors. This is from our Post Production Summit on June 11th, 2016 in New York City. Moderator: Bobbie O'Steen, "Cut to the Chase," "The Invisible Cut" Speaker: Anne V. Coates, ACE ("Lawrence of Arabia," "The Elephant Man," "Out of Sight," "Erin Brockovich") About Anne V. Coates, ACE: Anne was a renowned British editor who has worked on over sixty films, including the classic epic "Lawrence of Arabia," for which she received an Academy Award. She has garnered four additional Academy Award nominations for "Becket," "The Elephant Man," "In the Line of Fire," and "Out of Sight." She was awarded BAFTA’s highest honor, The Academy Fellowship, as well as the Career Achievement Award from American Cinema Editors - and in 2015 Coates was only the second editor besides Dede Allen to receive a career achievement award from the Los Angeles Film Critics Association. About Bobbie O’Steen: Bobbie is a writer and film historian, dedicated to sharing the editor’s invisible art. She is an Emmy-nominated editor and author of two acclaimed books: "Cut to the Chase," based on interviews with her late husband and colleague, legendary editor Sam O’Steen; and "The Invisible Cut," which deconstructs classic movie scenes through a cut-by-cut analysis. She is a frequent moderator for American Cinema Editors’ EditFest panels and host of her own “Inside the Cutting Room” event series. She has also taught at the American Film Institute, graduate film workshops at NYU’s Tisch School of the Arts and has created an ongoing course, “Making the Cut,” based on her interviews with over sixty editors. O’Steen’s next project is a media-rich eBook called "Making the Cut at Pixar" about the editor's pioneering role in computer animation. To find out more information on her speaking events go to http://:www.bobbieosteen.com. Produced by Manhattan Edit Workshop (MEWShop), “Sight, Sound & Story” is an ongoing high-profile speaker series that brings audiences “behind the scenes” with legends of visual storytelling. For more information go to https://:www.SightSoundandStory.com.

Episode 22 : Stanley Kubrick A Biography with Vincent LoBrutto. In this episode we talk to Stanley Kubrick biographer, Mr. Vincent LoBrutto about the his seminal Kubrick biography. Vincent LoBrutto is a teacher of motion picture editing and cinema studies at the School of Visual Arts in New York. He has worked for Fox and HBO as editor and for the ABC television network as a postproduction coordinator. Vincent is also a special member of ACE, which is the the society of American Cinema Editors and has also received the Robert Wise Award for Journalistic Excellence in the Illumination of the Art of Editing. He has edited and written for CinemaEditor, and written for Cineaste and Film Quarterly magazines. He is the author of several books on filmaking, including a series where he interviews some of the best artists in their fields including, Film Editing, Film Sound, Cinematography and Production Design. Vincent has also written several notable  biographies on filmmakers such as Martin Scorsese, The Coppolas and Gus Van Sant, but it’s his seminal biography on Stanley Kubrick that places him firmly in Kubrick’s Universe. Music : Intro music by Boogie Williams / Stanley Kubrick by Mogwai Production Credits : Hosted by Jason Furlong / Written by Stephen Rigg and Jason Furlong / Theme and original music written and performed by Jason Furlong / Produced and edited by Stephen Rigg Links : Vincent LoBrutto Books : https://www.amazon.co.uk/l/B000APL93C?_encoding=UTF8&redirectedFromKindleDbs=true&rfkd=1&shoppingPortalEnabled=true The Stanley Kubrick Appreciation Society (SKAS) - Facebook Group : https://www.facebook.com/groups/TSKAS/ The Stanley Kubrick Appreciation Society (SKAS) - YouTube Channel : https://www.youtube.com/channel/UCRdeqrFNoOrYtWbxwR_GXPA The Stanley Kubrick Appreciation Society (SKAS) - Twitter Page : https://twitter.com/KubrickAS Contact us : stephenrigg.skas@gmail.com Please help the cause by donating Auphonic Credits here : https://auphonic.com/donate_credits?user=SKAS

TODAY: Matthew "Matt" Chessé (born October 27, 1965), American film editor, producer, and director who is mainly associated with Independent films. He was nominated for the Academy Award for Film Editing for Finding Neverland (2004). Chessé has edited most of the films directed by Marc Forster. Chessé has been elected to membership in the American Cinema Editors. He has been nominated, for an Oscar in 2005: Best Achievement in Editing for Finding Neverland (2004), an Eddie in 2005: Best Edited Feature Film – Dramatic for Finding Neverland (2004), and a Satellite Award in 2008: Best Film Editing for Quantum of Solace (2008) which he shared with: Richard Pearson. Popcorn Talk Network, the online broadcast network that features movie discussion, news, interviews and commentary proudly presents “The Film Scene w/ Illeana Douglas”, a weekly, freewheeling discussion show where industry veteran Illeana Douglas interviews Hollywood's most important voices in TV and Film, discussing some of Cinema's most important films, scenes, and shots. Produced by Ryan Nilsen and co-hosted by Jeff Graham, this show is essential listening for serious and casual fans of film! Stay Up To Date: http://illeanaspodcast.com/illeana-douglas-episodes/ Listen on iTunes: https://itunes.apple.com/us/podcast/i-blame-dennis-hopper-starring-illeana-douglas/id1169112310?mt=2 Visit our website: https://popcorntalknetwork.com Follow us on Twitter: http://twitter.com/thepopcorntalk Love TV? Check out http://site.afterbuzztv.com Love Books? Check out http://bookcircleonline.com Support our friends at http://blackhollywoodlive.com Shopping on Amazon? Click through our Amazon affiliate program at http://www.amazon.com//ref=as_sl_pd_t...

Welcome back to Geektown Radio, and this week we have a number of firsts! It's the first time for our new film reporter, Gray, to appear as co-host, and it's also the first time we've interviewed a film editor on the show!Tatiana S. Riegel is a highly experienced film & tv editor who has worked across a range of projects, from Quentin Tarantino's ‘Pulp Fiction’ and ‘Jackie Brown’ to brilliant tv series like 'Game Of Thrones' and ‘House’, to movies such as ‘The Men Who Stare at Goats’, ‘There Will Be Blood’ and ‘The Finest Hours’. Her most recent project sees her reteam with longtime collaborator, director Craig Gillespie, on the darkly-comedic biopic ‘I, Tonya’.The film is a portrait of one of the most controversial figures in sports history, and follows Tonya Harding's story from her abusive childhood to her shocking figure-skating career, all the while maintaining a tone that strikes a careful balance between pitch-black comedy and real-life tragedy. As editor, it was up to Tatiana to balance the film’s complex moving parts, setting a pace for the ambitious story while giving both the drama and the humour room to shine. Her work in the film just recently earned her an American Cinema Editors nomination.Also On This Week's Show:Gray joins us in the co-host hot seat and we chat about the tv shows and films we've been watching including 'Early Man', 'Will & Grace', 'Black Mirror' and 'The Orville', and 'iZombie'.We take a look at all the latest tv & film news, including ‘The Walking Dead’ getting a new showrunner, Channel 4 adapting Gareth Edwards ‘Monsters’, and Anne Rice’s ‘The Vampire Chronicles’ series.We give you our recommendations for upcoming TV in the next 7 days. See acast.com/privacy for privacy and opt-out information.

"What is ACE, how do I become a member, and what are the benefits?" are common questions I'm asked often by fellow film editors (that I've also asked myself). Beyond simply breaking down the criteria for entry into the most prestigious organization in the post-production industry, in this episode I speak with Steve Rivkin, ACE President and editor of such films as Avatar, Pirates of the Caribbean, Ali, and many more, about what it really takes to be considered an elite editor, whether or not you belong to ACE. We break down how Stephen broke into the film industry without every having an assistant editor credit to his name, the secret to getting hired by any director or producer, how to transition from assisting to editing, and much more. If you've ever been curious about the inner-workings of what it really means to work as an editor at the highest levels and the psychology necessary to succeed, this episode is for you. Show Sponsor: G-Technology Topics of Conversation: Steve's big break into the industry and how he became the president of ACE The evolution of the modern editing career trajectory How to make contacts in post-production Re-learning the lost art of cutting collaboratively What you will need to get into ACE Fostering good relationships within the film industry How Steve became an editor without an assistant credit to his name What it takes to transition from assisting to editing The in's and out's of ACE as well as it's educational initiatives Raising awareness and perception of editing as a craft Useful Links: Enjoying The Show? Leave A Rating And Review HERE FiP Question Submission FiP Amazon Link Athletic Greens ACE Editors Guild Guest Bio: Stephen Rivkin, ACE, has been an editor in the motion picture industry for over thirty-five years. He is currently serves as President of the American Cinema Editors and is on the Board of Directors for the Motion Picture Editors Guild. He founded The Committee for Creative Recognition and EditorsPetition.com to petition film festivals and critics organizations, which honor Cinematography and/or Production Design, to add the category of Film Editing to their annual awards presentations. He has worked for some of Hollywood’s top directors including: James Cameron, Gore Verbinski, Michael Mann, Norman Jewison, Ridley Scott, Mel Brooks, Rob Cohen, Wolfgang Peterson, Chris Columbus and Diane Keaton. Rivkin was nominated for an Academy Award, a BAFTA Award and an ACE Eddie Award for his work on James Cameron’s mega-blockbuster “Avatar” which he co-edited. He also co-edited the “Pirates of the Caribbean” trilogy for producer Jerry Bruckheimer and director Gore Verbinski. All three films were nominated for ACE Eddie Awards, with a win for the original summer hit “Pirates of the Caribbean: The Curse of the Black Pearl.” Show Credits: This episode was edited by Curtis Fritsch, the show notes were prepared by Jakin Rintelman, and this show is executive produced by Kanen Flowers. We are a member of the THAT STUDIO podcast network. The music in the opening and closing of the show is courtesy of Dorian Cheah from his brilliant album ARA.

Hughes has edited more than twenty films over the years, including Crash, for which he won an Oscar for film editing. Hughes is an elected member of the American Cinema Editors. Hughes has over the years edited Sling Blade, A Slipping-Down Life, The Pursuit of Happyness, The Great Debaters, Seven Pounds, Teen Patti, The Help, and Pixels. More recently, Hughes edited the acclaimed Oscar nominated Fences, working again with actor/director Denzel Washington, and the upcoming All I See Is You for Marc Forster.

As editors, it's not uncommon to have a perpetual bowl of M&M's and a Coke next to your keyboard 12 hours a day (we've all been there). The question is, are the 3 Cokes a day simply a "treat," or are you actually addicted? In this episode I have an honest and emotional conversation with editors Siân Fever and Monica Daniel about their recent journeys with removing sugar from their diets. We talk about why they chose to do it, what their experiences were like during the withdrawal process, and most importantly, the positive effects it had on their energy, focus, and mood once they emerged from the dark side. Click here to download our bonus document "5 Ways to Overcome Sugar Addiction" Our show sponsors: EditStock.com Topics of Conversation: Monica and Siân’s relationship with sugar Why they decided to quit cold turkey Monica’s experience avoiding sugar for the first few weeks How Monica is kicking this habit over the long term Sugar is actually a neurological craving When Siân realized she had a problem with sugar Siân’s experience with quitting sugar cold turkey Monica and Siân’s stories are not uncommon! How sugar works Having a problem with sugar is not shameful Monica and Siân’s sugar withdrawal symptoms: shakes, headaches, always feeling hungry, pain in the gums, restlessness etc. Your tastebuds change when you are eating more/less sugar Siân was using sweets as a “reward” for everything How cutting sugar helped with their focus and general quality of life Reducing sugar can clear your skin and make you LOOK healthier too! Try cutting sugar for seven days and see what happens Siân’s recommendation for reducing your sugar intake--get a cookbook, find a sponsor This is the first step in Monica’s journey to better health Useful Links: FiP Podcast Ep48: Transitioning From Reality To Scripted with Monica Daniel FiP Podcast Ep24: Sexism in Post, Pt. 1 with Siân Fever and Kylee Wall The Ingredients in Pop Tarts That Sugar Film Fed Up Is Sugar Toxic? 7 Deadly Truths of Sugar What Eating 40 Teaspoons of Sugar a Day Can Do to You How Coca-Cola affects your body when you drink it FiP Podcast Ep63: The Solution to Your Sedentary Lifestyle with Ben Greenfield Guest Bios: Monica Daniel Monica is an Offline/Online Editor based in Los Angeles, as well as a member of the Academy of Television Arts and Sciences and an Affiliate Member of American Cinema Editors. She has worked for several television networks in addition to independent features that have been released by Miramax, Lionsgate and Anchor Bay Entertainment. She enjoys sharing her knowledge by giving presentations about her work, as well as Producing/Co-Hosting an industry podcast called Going Postal Show (www.goingpostalshow.com) and promoting health in post production through Fitness in Post (www.fitnessinpost.com). She has recently moved into scripted television, working on Minority Report for Fox as an Assistant Editor in 2015. Monica currently works as an Assistant Editor on Supergirl for Warner Bros. Television. You can follow her on twitter at @monica_edits Siân Fever Siân Fever is a London-based offline editor for broadcast, marketing and corporate content. She has a proven strength in music programming and branded content. Her clients include: Universal, Xbox, Sony BMG, Microsoft, Red Bull, Ford Mondeo, MTV, The Disney Channel, AOL, Natwest, ITV, Channel 4, The Mercury Music Prize and The Olympics. Recently she made the jump to Assistant Editor, working on BBC One’s Call The Midwife. Show Credits: This episode was edited by Curtis Fritsch, the show notes were prepared by Natalie Boschan, and this show is executive produced by Kanen Flowers. We are a member of the THAT STUDIO podcast network. The music in the opening and closing of the show is courtesy of Dorian Cheah from his brilliant album ARA.  

This is an excerpt from London Edit Fest 2015 with Adrian Pennington interviewing Terry Rawlings, ACE. The excerpt focuses on Blade Runner and the multiple versions that eventually lead to the release of the directors cut thanks to the support of fans.

Over many years in the industry, Eddie has cut over 20 feature films (both independent and major studio releases) in a wide variety of genres as well as TV dramas, documentaries and award-winning shorts.  Eddie has given presentations on Avid Media Composer editing at NAB and IBC. He is a member of American Cinema Editors and BAFTA, and was on the feature film panel for EditFest London.  Eddie's film projects include editing the popular Kick-Ass and Kick-Ass 2 films, X-Men: First Class, and the upcoming Jadoo, for writer/director, Amit Gupta.

In episode 005 of the Pixar Post Podcast we discuss: Monsters University news - New short clip titled "A message from the Dean", High-resolution character artwork & ID cards were released, MU official website updated with extra details on characters. Re-release of Monsters, Inc. including PartySaurus Rex prompted us to unleash our custom Rex around town again as he shopped and bought the Blu Ray at a store. Reminder to enter to win in our Evil Dr. Porkchop T-Shirt contest. Brave wins several awards at the American Cinema Editors awards and the Annual Cinema Audio Society Awards. The Blue Umbrellanew stop-motion vine video from Valentine's day, dates added for SXSW festival & a reader will be providing a review of their experience viewing the short film soon. Pixar Post - T.J. & Julieinfo@pixarpost.com 

Eddie Hamilton, ACE is the editor of Top Gun: Maverick, the last 3 Mission: Impossible films, Kick-Ass 1 & 2, and X-Men: First Class, just to name a few. And in my first interview with Eddie (here's part 2 where he talks about editing Maverick specifically), he and I talk about his early career choices and how he was able to become one of the top feature editors in the world…without ever going to film school.With all the unique stories that come with ‘making it' in Hollywood (or any creative career), it's easy to assume the way someone else became successful could never happen for you. Which is why I'm always trying to boil the process down to simple, actionable steps that anyone can follow to get real results. And those steps include:Choosing the ladder you want to climb (with laser-sharp specificity)Learning, honing, and becoming awesome at your craftMaking sure the right people know you're awesome at your craftIn today's conversation Eddie and I talk about his rise from runner to editor in only six months (working in sports journalism of all places), his journey from editing indie films to becoming an “overnight success,” and the various choices that Eddie made - and more importantly didn't make (i.e. what he strategically said ‘no' to), that helped forge his path to the top. Just a quick note this interview is pulled from deep in the archives way back in the Fitness In Post days, but I promise every single one of Eddie's knowledge bombs are just as relevant today as they were when we originally spoke.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episode Here's What You'll Learn:Eddie's background and how his love of film began at seven-years-oldHow to recover from rejectionHis first job in post and how he moved up from a runner to editor in only six months!His big break: working with Matthew VaughnEditing with VHS recordersIs grad school worth the time and money?A day in the life of Eddie HamiltonHis focus on diet and exercise while workingThe sacrifices necessary to succeed in this industryHis process for cutting scenesThe meals and snacks he chooses throughout the day...chocolate includedHow easy it can be to get some exercise into your day -- you don't need to do it all!Good eating habits at workStanding vs. sittingHow what you eat can affect your work for the dayThe differences between working in the US versus other countriesIf you want to succeed more than everyone else, you will succeed!Useful Resources Mentioned:Eddie Hamilton Maverick episodeEp11: Making It In Hollywood as a “Creative” (What They Don't Teach You In Film School) | with Norman HollynHow 'Mission Impossible' Editor Eddie Hamilton Skipped Film School & Worked His Way to Cutting BlockbustersHow To Get Ahead In EditingCutting Mission: ImpossibleContinue to Listen & LearnEp175: Defining Your Own Version of Success & Overcoming the Loneliness of Being a Freelancer | with Michael Bauman I Was Tired of Putting My Kids to Bed via FaceTime Every Night. Here's What I Did About It.Ep113: The Importance of Setting Boundaries, Advocating For Yourself, and Asking For Help | with Janace TashjianHow I burned out as a burnout coach (and then bounced back) Dear Hollywood...We Create Entertainment For a Living. We're Not Curing Cancer.Dear Hollywood: We Don't Want to “Go Back to Normal." Normal Wasn't Working.Ep128: How to Have a Successful Career Without Sacrificing Family | with Farrel LevyEp168: Hollywood On the Record: What's REALLY Happening On Set? | with Shay'La Banks and Nickolaus Brown Ep149: How Modern Society Is Damaging Your Brain (and the Simple Steps to Reverse It) | with Dr. Dave JenkinsEp82: Real Talk About Mental Health and Depression | with Michael KammesEp01: Understanding the Link Between Creativity and Depression with Dr. Edison de MelloGuest Bio: Eddie Hamilton Eddie Hamilton, ACE is currently editing the next chapters in the Mission: Impossible movie series. Before that, Eddie cut Paramount Pictures' Top Gun: Maverick, directed by Joe Kosinski, produced by Jerry Bruckheimer, and Mission: Impossible - Fallout and Mission: Impossible - Rogue Nation for director Christopher McQuarrie. Other credits include Kingsman: The Secret Service, Kingsman: The Golden Circle, X-Men: First Class and Kick-Ass for director Matthew Vaughn. After 23 years in the industry Eddie has cut over 20 feature films (both indies and studio movies) in a wide variety of genres as well as TV dramas, documentaries and award-winning short films. His enthusiasm for big screen storytelling is matched only by his total dedication to the craft of film editing, his nerdy technical expertise and his undisputed love of chocolate. He has given presentations on Avid Media Composer editing at NAB and IBC. Eddie is a member of the Academy Of Motion Picture Arts & Sciences, American Cinema Editors and BAFTA, and was on the feature film panel at EditFest London in 2013 and 2018.Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).

“It's your duty as a professional working with a director & producer that you tell them when it becomes impossible to do the job on your own.”Eddie Hamilton, ACE is the editor of Top Gun: Maverick, the last 3 Mission: Impossible films, Kick-Ass 1 & 2, and X-Men: First Class, just to name a few. And in my second interview with Eddie (here's part 1 if you haven't listened yet), he and I candidly discuss his experience editing Top Gun: Maverick and what drove him to asking for help before it was too late.The grueling work hours required to produce blockbuster content can literally be deadly if you don't care for yourself properly. When your livelihood depends on your creativity, your mental health is no longer a luxury, it's a job requirement. But many of us have spent so many years (maybe our entire lives), ignoring our self-care needs at the expense of our jobs - no matter the cost - we don't actually know how to care for ourselves when the time comes we have no other choice. Eddie recognized early in his career that he would have to take control of his mental health and set boundaries if he was going to survive working in Hollywood at the highest level, but not even that was enough on this job.In this conversation (which as a crazy aside was actually recorded before the pandemic, and I had to wait to release this interview until the film released!), Eddie honestly shares the immense challenges and responsibilities he bared working on Maverick and he gives an inside look into challenges like managing burnout, summoning the courage to ask for help, and whether or not working at the highest level in the business is worth the sacrifices.Want to Hear More Episodes Like This One?» Click here to subscribe and never miss another episode Here's What You'll Learn:How Eddie got started in editing.Eddie went from being his own assistant for his first ten movies to having 7 AE's for Top Gun: Maverick.What a typical day looks like while Eddie is cutting dailies on Mission Impossible and Top Gun: Maverick.Why Eddie had to ask for help on Top Gun: MaverickThe challenge and responsibility of being an editor on high budget films and how listening to Optimize Yourself reminded him to stay healthy.My story of the pressure I felt on Burn Notice when I had to cut a season opening montage with found footage from past dailies.Eddie's healthy habits of running and watching movies keep him fit and creatively informed to do his job well.Fever dreams of close ups of actors in his head wake him up at 3am.The hours Eddie worked when he went on location with the film.When burnout kicked in and he found himself frozen in front of his laptop unable to cut dailies.The foresight Eddie had to mention he was going to need help to the producers early on.Not only could Eddie not keep up to camera in cutting dailies, he couldn't keep up to watching all the dailies.Eddie values having another editor to bounce ideas off of and get immediate feedback.Does Eddie think the work is worth all the sacrifices he make?Eddie insists his team attends all important events in their lives.Why Eddie took a week off to do a personal development course and what changes it brought about in his life.The importance of asking lifestyle questions in job interviews.Eddie sees an appreciation for mental health growing in the past few years.Finding employers that respect your mental wellbeing is essential and should be prioritized whenever possible.Useful Resources Mentioned:Eddie Hamilton previous episodeHoffman ProcessContinue to Listen & LearnEp175: Defining Your Own Version of Success & Overcoming the Loneliness of Being a Freelancer | with Michael Bauman I Was Tired of Putting My Kids to Bed via FaceTime Every Night. Here's What I Did About It.Ep113: The Importance of Setting Boundaries, Advocating For Yourself, and Asking For Help | with Janace TashjianHow I burned out as a burnout coach (and then bounced back) Dear Hollywood...We Create Entertainment For a Living. We're Not Curing Cancer.Dear Hollywood: We Don't Want to “Go Back to Normal." Normal Wasn't Working.Ep128: How to Have a Successful Career Without Sacrificing Family | with Farrel LevyEp168: Hollywood On the Record: What's REALLY Happening On Set? | with Shay'La Banks and Nickolaus Brown Ep149: How Modern Society Is Damaging Your Brain (and the Simple Steps to Reverse It) | with Dr. Dave JenkinsEp82: Real Talk About Mental Health and Depression | with Michael KammesEp01: Understanding the Link Between Creativity and Depression with Dr. Edison de MelloGuest Bio: Eddie Hamilton Eddie Hamilton, ACE is currently editing the next chapters in the Mission: Impossible movie series. Before that, Eddie cut Paramount Pictures' Top Gun: Maverick, directed by Joe Kosinski, produced by Jerry Bruckheimer, and Mission: Impossible - Fallout and Mission: Impossible - Rogue Nation for director Christopher McQuarrie. Other credits include Kingsman: The Secret Service, Kingsman: The Golden Circle, X-Men: First Class and Kick-Ass for director Matthew Vaughn. After 23 years in the industry Eddie has cut over 20 feature films (both indies and studio movies) in a wide variety of genres as well as TV dramas, documentaries and award-winning short films. His enthusiasm for big screen storytelling is matched only by his total dedication to the craft of film editing, his nerdy technical expertise and his undisputed love of chocolate. He has given presentations on Avid Media Composer editing at NAB and IBC. Eddie is a member of the Academy Of Motion Picture Arts & Sciences, American Cinema Editors and BAFTA, and was on the feature film panel at EditFest London in 2013 and 2018.Show Credits:This episode was edited by Curtis Fritsch, and the show notes were prepared by Debby Germino and published by Glen McNiel.The original music in the opening and closing of the show is courtesy of Joe Trapanese (who is quite possibly one of the most talented composers on the face of the planet).