Art of the Cut (Steve Hullfish, ACE)

Eddie Hamilton, ACE takes you on a deep dive into the thought process of editing Top Gun Maverick and the challenges that he faced to complete this monumental editing task. Learn his tips for tricky editing situations and find out how he collaborated with additional editors Stephen Mirrione, ACE and Chris Lebenzon, ACE (who was one of the editors on the ORIGINAL Top Gun!) There's a ton of great content here. And if you want visuals with this conversation, check out https://borisfx.com/aotc. Also, PLEASE show some love to our sponsors. They have deals for you! Visit Borisfx.com for BORISFX, Sapphire, MochaPro and more - including blog content for filmmakers. Contact evercast.us and let them know you heard about their service and want to check it out. You'll save lots of money off your starting subscription price if you mention Art of the Cut. And go to jumpdesktop.com/cut for a free 14 day trial.

Today we’re talking with the editor of the TV series, Star Trek: Picard. Discussing season 3, is editor Drew Nichols, who is also an associate producer on the show. Drew started off in reality and documentary programming about 15 years ago and transitioned into scripted as an assistant editor on great shows like Mad Men and True Detective. He moved into the scripted  television editors chair on 12 Monkeys, The In Between, American Cartel, and MacGyver. 

Today on Art of the Cut we are talking about Tim Burton’s Beetlejuice Beetlejuice with editor Jay Prychidny, CCE. 

This is Jay’s fourth time on Art of the Cut. He previously joined us to talk about Snowpiercer, Wednesday, Scream VI, and now, Beetlejuice Beetlejuice.

Jay’s won a BAFTA and been nominated for and won numerous Canadian Cinema Editor’s Awards for his work on Orphan Black, The Alienist, The Amazing Race Canada, and many others.

Today we’re going to be discussing re-structuring a film to blend disparate elements, trying to create a mashup of MacArthur Park that tells a story while remaining musically cohesive, and turning a simple montage into a nostalgic, emotional journey. 

Today we’re talking with Michael Andrews, ACE, editor of the incredible animated feature, Spider-Man: Across the Spider-Verse. Anyone who has seen this has to just be in awe of how something like this got made - and Mike’s gonna shed some light on that for us.

Mike’s credits include editing Paws of Fury: The Legend of Hank, The SpongeBob Movie: Sponge on the Run, Mr. Peabody and Sherman, Megamind, Shrek, Shrek 2, and Shrek the Third. When you figure that each of those was probably a multi-year commitment, that is a lot of animation editing experience.

There are some truly amazing behind the scenes facts in this interview.

Today on Art of the Cut, we speak with Hilda Rasula, ACE, about editing “American Fiction” which won the AFI’s Movie of the Year Award and was nominated for a Spirit Award, a Critic’s Choice award, a Golden Globe and the PGA for best picture and could be on the list for the Oscar.

Hilda’s previous features include Moving On, Vengeance, French Exit and the TV series, Our Flag Means Death, among many other projects.

Don't forget to follow along with the transcription which includes lots of great images and video clips and trailers at borisfx.com/blog/aotc

Today on Art of the Cut, Chad Galster, ACE discusses cutting the series “Yellowstone.” Our discussion also covers spin-offs “1883” and “1923.”

Chad cut the 2021 movie “Those Who Wish Me Dead” (also written and directed by “1883” creator Taylor Sheridan.) He’s also edited the features “A Score to Settle” and “Beautiful Boy” and the TV series “Mayor of Kingston,” “The Proposal,” “The Bachelor” and “The Bachelorette.” One of the things we’ll be discussing is his move from reality TV to scripted TV and film.

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 we’re talking with some of the editors of Netflix’s sci-fi series, 3 Body Problem. With us for today’s interview are Anna Hauger, ACE, Michael Ruscio, ACE and Simon Smith, ACE. Katie Weiland was also an editor on the show but was unable to join us.

Anna’s credits include Westworld, Station Eleven, and Watchmen.

Michael’s credits include the TV series True Blood, Altered Carbon, Six Feet Under, and House of Cards.

Simon has been on Art of the Cut previously for his ACE Eddie winning work on Chernobyl and his ACE Eddie winning work on Andor. His other credits include the feature film Spaceman.

Don't forget that you can read along and get timeline screenshots, screenshots of bins, ScriptSync pages and trailers at:

borisfx.com/blog/aotc.

Today on Art of the Cut, Ken Eluto, ACE, Jane Rizzo, ACE and William Henry, ACE discuss cutting Succession, which has earned all three of them Emmy nominations for separate episodes this year.

Ken landed his first Emmy nomination in 1996 for American Experience. He was also nominated for an Emmy and an ACE Eddie for 30 Rock, then WON an Emmy and ACE Eddie the following year for 30 Rock again. More Emmy nominations and another ACE Eddie nomination came his way for 30 Rock in subsequent years, then additional Emmy nominations for Succession in 2020 and last year. Ken has also worked on Modern Love, Genius, Unbreakable Kimmy Schmidt and others.

Jane Rizzo was nominated last year for an Emmy and an ACE Eddie for an episode of Succession. The also cut the recently released The Beanie Bubble movie, and the features Z for Zachariah, Maggie, The Hunt and Leave No Trace, as well as TV series including Dash and Lily and Dickinson.

William Henry was nominated for an Emmy in 2020 for Succession. He’s cut features, including Soul Men and TV series including The Gilded Age, Dickinson, and Monsterland.

Today on Art of the Cut, we’re talking with Dreamworks veteran editor, Mary Blee about the film, “The Wild Robot.”

Mary’s editing career began as an assistant editor on the 1991 animated film “Beauty and the Beast.” She’s worked in sound editing and VFX editing. Did additional editing on “Kung Fu Panda” and was an associate editor on “How to Train Your Dragon” and “The Croods.” She was Second Editor on “The Boss Baby” and also worked on subsequent “How To Train Your Dragon,” “Croods” and “Boss Baby” films.

The discussion today includes Mary’s approach to cutting storyboards with feeling, the Rubik’s cube of story beats and how they sometimes need to be spun into proper alignment, and the magic response that a director can have to leave an editor “flying home on a cloud.”

Today is a really good episode to READ along with the podcast because we will have exclusive storyreels for the scenes that are discussed in the podcast and you'll really want to see those, not to mention the absolutely gorgeous timeline screenshot in the blog and clips from the movie.

Get it all here:

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with director, Rudy Valdez, and his editor Viridiana Lieberman about the new documentary, Carlos about guitar legend, Carlos Santana. 

Rudy is a two-time Emmy Award-winning filmmaker. His HBO documentary The Sentence was a Sundance Audience Award-winner. He’s also worked on numerous other projects as a cinematographer.

Viri, also worked on The Sentence with Rudy as his editor, and she’s a director in her own right, directing the ESPN documentary, Born to Play, which she also edited. Together, she and Rudy are off on their next project already, a documentary series called Choir.

Today on Art of the Cut, Oscar-winning film editor Lee Smith, ACE, on editing Sam Mendes’ “Empire of Light.”

Lee and I have spoken numerous times before including on 1917, Dunkirk and Spectre.

Lee was nominated for an Oscar for Master and Commander, nominated for another Oscar for “The Dark Knight,” nominated for an ACE Eddie and a BAFTA for Inception, and won an Oscar for Dunkirk. Other credits include Interstellar, X-Men: First Class, The Prestige, and Batman Begins.

Today on Art of the Cut, we speak with writer/director/editor Brett Morgen about his film “Moonage Daydream” about the iconic artist, David Bowie. This is no simple biopic. It’s a rich, philosophical montage connecting Bowie’s life and work with the culture that he is both affected by and speaking into. This interview came from numerous requests from Art of the Cut fans who loved the masterful editing of this film.

Brett Morgen is known for directing biographical documentaries like Jane - about the extraordinary life of Jane Goodall, Cobain: Montage of Heck, about the life of Nirvana singer Kurt Cobain, and The Kid Stays in the Picture, about the legendary Paramount producer, Robert Evans.

Morgen has also directed the pilot of the series When the Lights Go On, and episodes of 30 for 30 and Runaways among other feature film and TV projects.

Today, on Art of the Cut we’ve got another fan-requested interview! We’re talking to Geoffrey Richman, ACE and Erica Marker, ACE - two of the editors of the AppleTV+ series “Severance.”

Geoffrey was nominated this year for two Primetime Emmy’s for editing different episodes of “Severance.” He’s also been nominated for an Emmy for his work on Tiger King. He’s also won three ACE Eddies for - his work on Escape from Dannemora - and two different documentaries: “The Cove” and “Sicko.” He also won the special jury prize at Sundance for editing the documentary “Murderball.”

Erica was also nominated this year for a Primetime Emmy for one of her episodes of “Severance.” She also cut the feature film “Baked in Brooklyn” and TV series including “The First Lady,” “Fosse/Verdon,” and “The Good Fight.”

Today we’re talking with Kelly Matsumoto, ACE and Dylan Highsmith about editing Fast X.

Dylan has worked his way up, mainly as a VFX Editor, including on Fast Five.  And has been an editor on Fast and Furious 6, Furious 7, The Fate of the Furious, and Fast 9. He’s also edited Pacific Rim: Uprising, and Star Trek Beyond.

Kelly’s experience with the Fast series goes back to before 2006 with The Fast and the Furious: Tokyo Drift. Also, Fast Five, Fast and Furious 6, and Fast 9. Kelly’s other credits include The Meg, Star Trek Beyond, The Mummy, The Mummy Returns, The Mummy: Tomb of the Dragon Emperor, and Van Helsing among others.

Thanks to our new sponsor Lens Distortions. Be sure to check them out at lensdistortions.com/AOTC.

If you want to watch the scenes from this episode:

Cannon car

https://youtu.be/mAbShxN5f6Q

Letti - motorcycle

https://youtu.be/BTcqoR96Pls

An interview with Anthony Greenberg, the editor of PIXAR's "Lightyear." PIXAR's storytelling abilities are legendary, and in animation the editor is front and center in that process. Animation editing is a very different animal than live-action film editing. Anthony discusses the process of crafting "Lightyear" over a period of four years. He shares his storytelling sensibilities and process and much more in this interview.

Today on Art of the Cut, we’re talking with the editors of the ACE Eddie nominated documentary, American Symphony.

Sammy Dane steps into the edit chair for the first time. His previous films include assistant editing on After Shock, The Boy From Medellin, 16 Bars, and Hip Hop, the Songs that Shook America. 

Jim Hession has cut Marina Amramovic: The Artist is Present, the TV series The Deep End, Philly D.A., and David Blaine: The Magic Way.

And Fernando Villegas has cut HBO Boxing, Golden, The Journey of USA’s Elite Gymnasts, and After Jackie.

The film’s director - Matthew Heineman - is also credited as an editor on the film.

Today on Art of the Cut, Bob Ducsay, ACE discusses his work on Riann Johnson’s “Glass Onion: A Knives Out Mystery.”

I’ve spoken to Bob before. His credits are lengthy and include The Mummy, Van Helsing, Jack and the Giant Slayer, and Godzilla. He has worked with Riann Johnson since Looper, which was released in 2012, also on Johnson’s Star Wars: The Last Jedi, and on their previous film, Knives Out. They’ve also worked together on the TV series Poker Face on Peacock TV.

Jonathan Redmond and Matt Villa discuss their editing of the Baz Luhrmann film, "Elvis."

Jonathan has edited the film “The Great Gatsby” and the TV series including The Get Down, Wonders of Australia’s National Parks, Romeo & Juliet: A Monkey’s Tale, and Pelicans of the Ghost Lakes. He was also First Assistant Editor on Moulin Rouge.

Matt Villa has edited features including The Great Gatsby, Peter Rabbit 2, Winchester, and Predestination. He was also an additional editor on the Lego Batman Movie, The Lego Movie 2, Happy Feet 2 and Australia.

Today on Art of the Cut, we’re talking with Kevin Tent, ACE, about his long-time collaboration with director Alexander Payne and their latest film, “The Holdovers.”

Kevin’s been on Art of the Cut before for his last Alexander Payne collaboration, “Downsizing” and for “The Peanut Butter Falcon.” Kevin has been nominated for numerous ACE Eddies for his work on Election, About Schmidt, Sideways and Nebraska. He also won an ACE Eddie and was nominated for an Oscar for his work on The Descendants. 

Want to feast your EYES as well as your ears? Read this and get great trailers and clips from the movie at borisfx.com/blog/aotc

Today on Art of the Cut, we talk with editor Jamie Kirkpatrick, ACE and one of his assistant editors, Amanda K. Romero about editing the film, Greedy People.

Jamie’s been on Art of the Cut previously for his work on the film Critical Thinking. His other films include Old Henry, My Friend Dahmer, and We Summon the Darkness.

Amanda has previously edited the feature films False Pretenses and Bedside, and the TV series Londyn and Philly D.A.

We’re going to be discussing how balancing tone in a black comedy is deadly business, why finding temp from similar movies doesn’t necessarily work, and how you make the move from un-scripted editor to scripted assistant

Also, you can read along and see pictures of Jamie and Amanda, Jamie's cutting room, and the timeline and Productions window from Adobe Premiere for the movie.

borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with  BAFTA nominee, Mark Everson, about editing Wonka.

Mark has edited both of the Paddington movies, Dora and the Lost City of Gold, and Johnny English Strikes Again. His TV work includes Tracey Ullman’s Show, The Toast of London, and his BAFTA nomination for The Mighty Boosh.

Please check out the transcribed interview - with visuals - at borisfx.com/blog/aotc

Today on Art of the Cut we speak with Sam Restivo and Oscar-winning editor, Claire Simpson about their editing of Ridley Scott’s Gladiator II.

Claire and Sam have been on Art of the Cut previously for their work on Ridley’s Napoleon. 

Claire won an ACE Eddie, a BAFTA and an Oscar for her editing of Best Picture winner, Platoon. She was nominated for another Oscar and an ACE Eddie and won a BAFTA for her editing of The Constant Gardener.  Along with Platoon, she’s edited two other Oscar Best Picture nominees: The Reader and Extremely Loud and Incredibly Close.

In addition to Napoleon and Gladiator II, Sam was an additional editor on The Last Showman, The Last Duel, House of Gucci and Robin Hood. 

The discussion today is about - among other things - re-organizing the film to find the best moment to reveal critical information, the difference between editing action and dialogue scenes, and the importance of experimentation.

If you want to follow along with this podcast with a transcript and visual support including clips, trailers, and exclusive photos, check out the blog at:

borisfx.com/blog/aotc

Today on Art of the Cut, we discuss editing the Apple Plus feature film The Instigators with three editors, including Oscar-winning editor William Goldenberg, ACE, Oscar-nominee Tatiana Riegel, ACE, and Oscar-nominee Saar Klein.

Billy’s been on Art of the Cut six times before for his work on Live By Night, Detroit, 22 July, The Outfit, News of the World, and Air. Billy won an Oscar, a BAFTA, and an ACE Eddie for Argo, and was nominated for an Oscar, a BAFTA and an Eddie for The Imitation Game. He was also nominated for an Oscar for Zero Dark Thirty, but lost to … himself. He was also nominated for Oscars for Seabiscuit and The Insider.

Tatiana has been on Art of the Cut to discuss The Girl in the Spider’s Web, Cruella, and I, Tonya.  Tatiana has been winning ACE Eddies since back in 2008! She was nominated for an Oscar and won an ACE Eddie AND an Independent Spirit Award for I, Tonya, was nominated for an Emmy for Pam & Tommy, and was nominated for an ACE Eddie for Cruella.

Saar was nominated for an Oscar and an ACE Eddie for The Thin Red Line, and he was nominated for an Oscar and won an ACE Eddie for Almost Famous. His other work includes, Jumper, The Bourne Identity, and the TV series, Masters of the Air. 

A three-person panel of editors with 8 Oscar nominations between them discusses the emotional impact of structural changes, the advantages of objectivity, and Stockholm Syndrome as it applies to directors!

Today on Art of the Cut we speak with Oscar nominee, Sandra Adair, ACE, about the Richard Linklater film, “Hit Man.”

Sandra was last on Art of the Cut for her film “Where’d you Go, Bernadette.” She was nominated for an ACE Eddie for her work on “School of Rock.” And she was nominated for an Oscar and won an ACE Eddie for her work on “Boyhood.” 

Her other work includes “Dazed and Confused,” “A Scanner Darkly,” and “Bernie.”

There are a ton of great exclusive photos - including the chart she talked about in the BLOG version of this podcast.

Check that out at:

borisfx.com/blog/aotc

Today on Art of the Cut, editor Jeff Groth, ACE, discusses editing Joker: Folie a Deux. For those of you who didn’t take French - that’s “Madness between two.”

Jeff’s been on the show before to talk about the last Joker movie, and also The Grey Man. Groth was nominated for an ACE Eddie for his work on the TV series Entourage. He was nominated for an Oscar, a BAFTA and an ACE Eddie for his work on Joker.

Today on Art of the Cut we speak with the editors of the Apple TV Plus series, Foundation, based on Isaac Asimov’s sci-fi trilogy. On the call today are Paul Trejo, ACE, Miklos Wright, ACE, Emily Greene, ACE, Sidney Wolinsky, ACE, and Olivia Wyrick.

Paul Trejo has cut TV series including Black Sails, Carnival Row, Tom Clancy’s Jack Ryan and Locke and Key. He was also the sound editor on Scarface and The Cotton Club.

Miklos Wright edited Open Range, Mr. Brooks, Luke Cage and 3000 Miles to Graceland. He’s currently cutting Kevin Costner’s western series, Horizon.

Emily Greene edited the TV series Mrs. America, Carnival Row, American Crime Story, and the pilot of The Rookie.

Sidney Wolinsky has been on Art of the Cut previously for his work on Greyhound,  Guillermo del Toro’s The Shape of Water, and The Sopranos. His other work includes Boardwalk Empire, House of Cards, and The Walking Dead.

Olivia Wyrick, as you will hear, recently moved into the editing chair for Foundation after working as an assistant on the show and as an assistant or on-line editor for shows like The Walking Dead, Fear the Walking Dead, The Mentalist, and Spider-Man Apprentice.

Also, you can follow along with this podcast by reading the blog, which has lots of great visual support materials!

borisfx.com/blog/aotc/

Today on Art of the Cut, Oscar-winning film editor Conrad Buff, ACE on editing Antoine Fuqua’s “Emancipation,” which stars Will Smith.

Conrad has been on Art of the Cut in the past to discuss American Assassin and Huntsman: Winter’s War. The rest of his filmography includes a few small films that you might recognize. He was nominated for an Oscar and an ACE Eddie for Terminator 2: Judgment Day. He was nominated for another ACE Eddie for True Lies. AND He was nominated for a BAFTA and WON an Oscar and an ACE Eddie for The Titanic. Other work includes Rise of the Planet of the Apes, Terminator: Salvation, Shooter, King Arthur, Training Day, 13 Days, The Abyss, and … oh… Spaceballs. Just a little indie editor trying to make good.

Today we’re speaking with Jay Prychidny, CCE about editing Scream 6. Jay has won or been nominated for numerous Canadian Cinema Editors Awards for projects including The Alienist, Orphan Black, Canada’s Next Top Model, The Next Step, and Lost and Found Music Studios. He also won a BAFTA for The Next Step. His other credits include the TV series Snowpiercer, Altered Carbon, and Wednesday.

Today, on Art of the Cut, we’re talking with editor Alan Edward Bell, ACE about editing the film “Where the Crawdads Sing,” which was based on the 2018 best-selling novel.

Bell has been a guest on Art of the Cut several times for his work on The Hunger Games movies and Red Sparrow. Alan is an ACE Eddie nominee for his work on “(500) Days of Summer.” His other films include “The Amazing Spider-man,” “Water For Elephants.” and “Gulliver’s Travels.

Today on Art of the Cut, editors Nathan Orloff and Shane Reid discuss editing Jason Reitman’s Saturday Night - a film recounting the chaos just before going LIVE with the first episode of Saturday Night Live.

Nathan Orloff has been on Art of the Cut before, most recently for his work on Deadpool/Wolverine. He also joined us for his previous collaborations with Reitman on  Ghostbusters: Frozen Empire and Ghostbusters: Afterlife He was also on for editing John Wick 4.

Shane Reid was also on Art of the Cut with Nathan for Deadpool/Wolverine and for Ghostbusters: Frozen Empire. Shane also edited the Nick Cave documentary, One More Time with Feeling. 

Today we’re going to be talking about Reitman’s commitment to his highly choreographed long takes, how there was no temp score because composer Jon Batiste was actually recording the score ON THE SET, and creating the dynamics between chaos and quiet.

If you want to follow along with this interview, you may read it and see exclusive photos and clips and trailers from the movie here:

borisfx.com/blog/aotc

Today, we’re talking with Dean Zimmerman, ACE and Shane Reid about editing Deadpool and Wolverine.

Dean’s been on Art of the Cut before to discuss the projects: Free Guy, All the Light We Cannot See and Stranger Things, for which he won an Emmy, was nominated for two others, and an ACE Eddie. His other work includes The Darkest Minds, Jumper and Night at the Museum: Battle of the Smithsonian. Dean’s been working on the next season of Stranger Things.

Shane Reid was previously on Art of the Cut for his editing of Ghostbusters: Frozen Empire. He also edited the feature, One More Time with Feeling and is currently cutting the new Saturday Night Live feature film, due out in October of 2024.

Be sure to follow along with this podcast by checking out the blog where you can see great custom images, trailers, clips and more:

borisfx.com/blog/aotc.

Today we’re talking with the editors of the TV series, The White Lotus which has been nominated for Emmy Awards in the Outstanding Picture Editing in a Drama Series category. Heather Persons, ACE has been nominated for her episode, “Abductions” and John Valerio, ACE has been nominated for his episode “Arrivederci.”

Heather has been nominated three times before for Emmys, three times for ACE Eddies, and for a BAFTA. She’s edited features, like “Sunshine Cleaning” and was an additional editor on “My Big Fat Greek Wedding.” Her TV credits include, The Flight Attendant, How to Make it in America, and The Ron Clark Story.

John won an Emmy for his “Departures episode from Season 1 of The White Lotus, and won an ACE Eddie for his “Arrivederci” episode from Season 2. He’s also been nominated for another ACE Eddie and a BAFTA.

His work includes TV series like Tom Clancy’s Jack Ryan, The Old Man, Tokyo Vice and Parks and Recreation.

Today we’re speaking with Elisabet Ronnaldsdotir, ACE about editing Bullet Train with her long-time directorial collaborator, David Leitch, who - at one time was Brad Pitt’s stunt double.

Elísabet started her editing career in her native Iceland more than 20 years ago. She’s spoken with me on Art of the Cut about Mile 22 and Atomic Blonde and Chang Chi - Legend of the 10 Rings. She also edited The Deep and John Wick, Deadpool 2 and Kate, among others. With credentials like that, it’s so easy to categorize her as the queen of the action film, but I think our discussion today will show that she’s so much more than that.

Today on Art of the Cut we speak with Julia Grove, ACE, Howard Leder, and Lai-San Ho, who edited the Hulu TV series, Paradise.

Julia was nominated for an ACE Eddie for her work on This is Us. She’s also edited Grey’s Anatomy, Scandal, and How to Get Away with Murder.

Howard has edited The Newsroom, American Gods, This is Us, and Perry Mason.

Lai-San has edited This is Us, Rabbit Hole, and The Company You Keep.

This discussion includes - among other things - a discussion about editing a show with no temp music, the judicious use of a single slo-mo shot, and why you move a scene from one episode to another.

If you'd like to read along with this interview, please check out:

borisfx.com/blog/aotc.

Today we’re talking with Dan Schalk, ACE about editing “A Good Person” which was directed by Zach Braff and stars Florence Pugh and Morgan Freeman.

Dan has moved from LA to Lake Geneva, Wisconsin which is where he edited this film, so we chatted from only a few miles away from each other - me in Chicago. Dan’s filmography includes - among others - "The Superhero Movie," "She’s Out of My League," Judd Apatow’s "The Bubble," and "Girl in Progress." His work also includes TV like "Kevin Can F**k Himself," "Parks and Rec" and "New Girl."

Today on Art of the Cut, we discuss the Oscar, BAFTA, and ACE Eddie nominated documentary Fire of Love with the editors of the film, Erin Casper and Jocelyne Chaput.

Jocelyne’s credits include the documentaries People of a Feather, Fractured Land, Starlight & other Sounds: the music of Alexina Louie, and Power of the River.

Erin’s credits include the documentaries Risk, The Seer and the Unseen, American Promise, and Roll Red Roll.

Today on Art of the Cut we speak with Dávid Jancsó, the editor of The Brutalist. 

David’s been busy! He also edited last year’s Monkey Man as well as films like Evolution and Pieces of a Woman as well as the TV series The Crowded Room and Treadstone.

This discussion includes - among other things - how editing is like Brutalist architecture, the purpose behind fracturing time, and the decisions on what to keep in a movie that runs three and a half hours.

You can read along with this interview and see clips and images at:

borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with editor Keith Fraase, about the Oscar Best Picture nominated film, “Past Lives.” Keith is also nominated for an ACE Eddie for Best Edited Dramatic Feature for the film.

Keith’s past work includes the feature films: Knight of Cups, To the Wonder, Chappaquiddick, and Song to Song. 

There's a lot of great exclusive and personalized visual content - timelines, screenshots of bins, WFH set-ups, etc. - on the blog, so you can read along there! borisfx.com/blog.aotc

Today on Art of the Cut we speak with writer/director/editor, Brendan Bellomo of the Oscar-nominated documentary, Porcelain War. The film was nominated for an ASC Award for cinematography for its cinematographer, even though it was his first time using a camera. It won the DGA Award for Outstanding Directorial Achievement in Documentary. It won the PGA Award for Producing, won the Australian Screen Sound Guild Award and the HPA Award for Best Sound, and won the Sundance Grand Jury Prize award.

This discussion includes - among other things - determining the structure of the film based on emotion, why color grading needed to be part of the off-line edit, and how the editing pace was determined by the personality of the documentary’s subjects.

You can read along with this interview and see images including the timeline and clips and trailers on the BorisFX blog at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with the editing team of the Star Wars TV series, Ahsoka: (alphabetically, they are) Dana E. Glauberman, ACE, Rosanne Tan, ACE, and James D. Wilcox, ACE. 

Dana was nominated for an ACE Eddie Award for her work on Ahsoka, Part Four: Fallen Jedi. She also has received Eddie nominations for multiple feature films, as well as for The Mandalorian, for which she was also nominated for a Primetime Emmy Award. Dana’s been on Art of the Cut for Ghostbuster’s Afterlife, Creed 2,  and The Mandalorian. 

Rosanne’s credits include Homecoming - for which she was nominated for an ACE Eddie, Mr. Robot, for which she was nominated for two ACE Eddies, Seven Seconds, Hawkeye, and The Falcon and the Winter Soldier. Rosie was on Art of the Cut for her work on The Falcon and the Winter Soldier.

James is an ACE Eddie winning editor for his work on Einstein: Chapter One, of the Genius TV series.

He’s been on Art of the Cut for two of Ron Howard’s feature films, Thirteen Lives and Hillbilly Elegy. He’s also cut TV series including CSI: Miami, Hawaii Five-0, and Roots.

You can follow along with the transcript and great visual support on BorisFX's blog of this podcast.

borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with Kirk Baxter, ACE, about editing David Fincher’s latest: The Killer, which is now on Netflix.

Kirk’s been on Art of the Cut before - for Gone Girl and for Mank. He was nominated for an Oscar, a BAFTA and an ACE Eddie for The Curious Case of Benjamin Button. He won an Oscar, a BAFTA and an ACE Eddie for The Social Network. He was nominated for an ACE Eddie and won an Oscar for The Girl with the Dragon Tattoo. Was nominated for an Emmy for House of Cards. Was nominated for an ACE Eddie for Gone Girl. Was nominated for an ACE Eddie for Mindhunter. Was nominated for an ACE Eddie for Mank and won an ACE Eddie for Love, Death and Robots.

Today on Art of the Cut we discuss Jordan Peele’s genre-busting sci-fi/horror/Western/thriller film, “NOPE” with editor Nicholas Monsour.

Nicholas also edited Peele’s previous film, “Us.” Additionally, his work includes, the features “Keanu,” “Action Point,” and “Last Looks.” He’s also edited TV series including “The Twilight Zone,” “Whiskey Cavalier,” “Cobra Kai,” “Brockmire,” and, of course, “Key and Peele.”

Today on Art of the Cut, we speak with Darrin Navarro, ACE, who started his career with the legendary Roger Corman and has edited films including The Lovers, The End of the Tour, Killer Joe and I Love Dick.  Darrin has worked with legendary director William Friedkin for years, starting as an assistant editor. Novarro talks about The Caine Mutiny Court Martial - his final collaboration with Friedkin - who passed away recently.

Check out the blog of this podcast here:

https://borisfx.com/blog/aotc/caine-mutiny-court-martial/

Today on Art of the Cut, Jennifer Lame, ACE, discusses editing Oppenheimer with some of the key members of her editing team: Additional Editor, Mike Fay, First Assistant editor (Avid) Nick Ellsberg, and First Assistant Editor (film), Tom Foligno.

Jennifer Lame was an early Art of the Cut guest when she edited Manchester By the Sea, for which she was nominated for a BAFTA and an ACE Eddie. She has since edited Hereditary, Marriage Story - also nominated for an ACE Eddie - Tenet, and Black Panther: Wakanda Forever.

Mike Fay was previously the Visual Effects editor on Bullet Train, John Wick 3, and Passengers, First Assistant Editor on Ghostbusters: Afterlife, and The Mountain Between Us, and editor on the feature film, A Shot through the Wall.

Nick Ellsberg was First assistant editor on Bullet Train, assistant editor on Ghostbusters: Afterlife, second assistant editor on John Wick 3, and editor on the feature film, Watch List.

Tom Faligno was nominated for an ACE Eddie for an episode of Curb Your Enthusiasm. He’s also edited the TV series Ballers, Altered Carbon and Dispatches from Elsewhere. He’s also cut features including All for Nikki and Sweet Lorraine. Later in the episode, you’ll hear his background included working on Martin Scorsese’s Casino, Kundun, and The Aviator as an assistant editor under Thelma Schoonmaker, ACE.

Today on Art of the Cut we speak with Job ter Berg, ACE about the film The Watchers.

Job has been on Art of the Cut before - most recently to discuss Gareth Edwards’ sci-fi film, The Creator and before that for Paul Verhoeven’s film, Elle.

His other work includes Benedetta, The Informer, and Brimstone.

Also, check out the BLOG with exclusive images, and video content, including trailers and clips. You can read along at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Harry Yoon, ACE about his editing of the film The Fire Inside.

Harry has been on Art of the Cut before for his work on the films Shang-Chi and the Legend of the Ten Rings, Minari - for which he was nominated for an ACE Eddie, also The Best of Enemies, and Detroit. He’s also been on for the TV series, Beef, for which he won an ACE Eddie. 

This discussion includes - among other things - working with a first time feature director, streamlining a narrative to increase impact, and how to build a scene that was never shot.

While you're listening you can also READ ALONG with this interview and see exclusive photos and clips and the trailer. There's a cool timeline screenshot and a picture of Harry's assistant editors with the STORY WALL in the cutting room!

Borisfx.com/blog/aotc

Today on Art of the Cut, we feature one of the recent editing nominees for this year’s Emmys: Russell Griffin, ACE. He’s been nominated for three primetime Emmys and a Kids and Family Emmy. And won an ACE Eddie last year for the How I Met Your Father episode, “Daddy.” This year he’s Emmy nominated for the How I Met Your Father episode “OK, Fine, it’s a Hurricane” in the category, Outstanding Picture Editing For A Multi-Camera Comedy Series.

Previous work includes The Upshaws, for which he was nominated for an Emmy and Mad about You.

Also, you can follow along with the podcast to see exclusive images, trailers and video clips by reading the blog at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Louise Ford, ACE about editing Robert Eggers’ “Nosferatu.”

Louise has been on Art of the Cut before, when we discussed Eggers’ The Northman.

Her other credits include the features Wildlife, Bad Education, and The Lighthouse among many others.

This discussion includes - among other things - the importance of sound design in horror films including the revelation of her personal secret sauce…her method to maintain emotional continuity and how she deals with the dark themes of her work with Eggers.

If you want to read along with this podcast and see exclusive images, trailers and film clips, check out:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with a familiar guest of the podcast and also we get the unique opportunity to speak with the director of the film, We Grown Now.

Editor Stephanie Filo, ACE, has been on Art of the Cut to talk about her Emmy and ACE-winning work on A Black Lady Sketch Show and about her Emmy-nominated work on Dahmer: Monster - the Jeffrey Dahmer Story and History of the World Part II. Stephanie has also won an Emmy and a Peabody Award for her documentary editing work, and was nominated for an Independent Spirit Award for her work on We Grown Now.

Minhal wrote and directed We Grown Now for which she won the Toronto International Film Festival's Changemaker award, and was nominated for Best Feature for an Independent Spirit Award. She also wrote and directed her previous feature, Hala which was nominated for the Grand Jury Prize at Sundance.

Be sure to follow along with this podcast on our blog at

borisfx.com/blog/aotc, which has lots of great visuals including timeline screenshots and exclusive photos from post.

Today on Art of the Cut we speak with editor Melissa Kent, who has been a guest of the show before for her movie Traffik, and she’s back with us to discuss the feature film Musica which is currently available on Amazon Prime.

Melissa’s other work includes the feature films The Age of Adaline, The Virgin Suicides, The Dirt, The Intruder, The Sisterhood of the Traveling Pants 2, and she BEGAN with Francis Ford Coppola’s The Rainmaker. She has also cut TV including Robin Roberts Presents: Mahalia, the TV movie A Raisin in the Sun, and Netflix’s American Son.

Be sure to read along - with exclusive behind the scenes images - at

borisfx.com/blog/aotc

Today, we’re talking with Myron Kerstein, ACE about teaming up again with director Jon Chu to edit the cinematic adaptation of the Broadway hit, Wicked.

Before that they collaborated on In the Heights. And before THAT on Crazy Rich Asians - not to mention Kerstein's work with Lin-Manuel Mirandad on tick, tick...BOOM! and we’ve talked about ALL of those films here on Art of the Cut.

Kerstein’s previous work as an editor includes the feature films Going in Style, Garden State and Glee: The 3D Concert Movie. He’s also directed an episode of the Apple Plus TV series, Home Before Dark. To go DEEP into the editorial archives he was once an assistant editor on the iconic series, Sex and the City.

The discussion today is about how his directing work affects his editing, how he treats dance numbers like any dramatic scene, and the fellow musical editor - and fellow Art of the Cut guest - that Myron turned to for advice.

If you'd like to see lots of video featurettes and trailers and exclusive images, check out the blog of this interview at:

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with the two editors of Guillermo del Toro’s stop-motion animation version of “Pinocchio” - Holly Klein and Ken Schretzmann, ACE.

Holly Klein has been in the animation business since leaving college. She was an animator on Blues Clues and other kids TV shows and transitioned into editorial including work as an assistant editor on Coraline and Paranormal.

Ken Schretzmann began his career in live action feature film editorial back in the mid-80s and worked as an assistant editor on films like “Fried Green Tomatoes” “Get Shorty” and “Men In Black.” He edited the live action feature “The Modern Adventures of Tom Sawyer” before transitioning to animation editorial working on PIXAR films such as “Toy Story 2” “Monsters Inc” “Cars” and “Toy Story 3.”

Today we’re speaking with Oscar-winning editor, William Goldenberg, ACE about his work on the feature film Air, directed by his long-time collaborator, Ben Affleck and starring Affleck, Matt Damon, Viola Davis and Jason Bateman. 

Goldenberg has been a guest on Art of the Cut numerous times for films including The Outfit, News of the World, 22 July, Detroit, and Live by Night. 

He was nominated for an ACE Eddie and an Oscar for The Insider, another Oscar and Eddie nomination for Seabiscuit. Then BAFTA, Eddie and Oscar nominations for Zero Dark Thirty, which is the same year he won the Oscar for editing Argo. And another set of BAFTA, Eddie and Oscar nominations for The Imitation Game. 

Today on Art of the Cut, we talk with Affonso Gonçalves, ACE about his work on Olivia Wilde’s, Don’t Worry Darling.

Affonso has been nominated for an Emmy and won an ACE Eddie for his work on the TV series True Detective. He was nominated for another ACE Eddie for his work on the documentary, The Velvet Underground.

His other work includes the films Carol, The Lost Daughter, Beasts of the Southern Wild, and Winter’s Bone.

Today on Art of the Cut we speak with Oscar-nominee Joi McMillon, ACE about the editing of Barry Jenkins’ Mufasa: The Lion King.

Joi’s been on Art of the Cut before for Moonlight - for which she was nominated for an Oscar and an ACE Eddie and for Underground Railroad. She also edited Jenkins’ If Beale Street Could Talk among many other projects.

The discussion today is about - among other things - the workflow similarities between Mufasa and Avatar, the benefits of watching dailies with the director and cinematographer, and the learning curve of cutting animation for the first time.

If you want to read along with this podcast, a full transcript - with great visual support of trailers and clips - can be seen at

borisfx.com/blog/aotc

Today on Art of the Cut, we discuss the Oscar nominated documentary “All the Beauty and the Bloodshed” with one of its editors, Amy Foote. Joe Bini and Brian A. Kates, ACE weren’t available, but are also nominated for ACE Eddies for the film.

Amy’s credits include the documentaries, Father Soldier Son, Hail Satan, A Matter of Taste: Serving up Paul Liebrandt, and Bombshell: The Hedy Lamar Story.

Today we’re talking with some of the editing team from the biggest pinkest movie to hit screens in a while - Barbie. With us for this conversation are editor Nick Houy, ACE… his first assistant editor, Nick Ramirez,  apprentice editor, Maya Rivera, and post PA, Abdul Ndadi.

Nick Huoy has been on Art of the Cut before for director Greta Gerwig’s Little Women. 

Nick started out as an apprentice to Naomi Geraghty. And in 2012 moved to the editor’s chair where he was an additional editor on Girl Most Likely, and edited Fairhaven, and Manhattan Romance before joining forces with Greta Gerwig for her breakout film, Lady Bird.  

In an interesting bit of trivia, another apprentice editor under Naomi Geraghty was none other than Jennifer Lame who edited the other major film opening in theaters the same weekend as Barbie - Oppenheimer.

First Assistant Nick Ramirez was an editor on the documentary Stutz - co-edited with Nick Huey… He also edited the feature film Mayday and was the first assistant on Little Women and Lady Bird.

As an apprentice editor, this was really Maya Rivera’s first film in post, but since then, she also was an apprentice on The Beanie Bubble, which is out now as well!

Abdul Ndadi is the Post PA on Barbie after moving over from animation. He did animation for a documentary called Stickman: The Roosevelt Wilkerson Story.

Today on Art of the Cut, we speak with one of the editors of the movie The Burial. Edited by Lee Percy, ACE and Jay Cassidy, ACE - BOTH have been guests on Art of the Cut in the past. This time around, we spoke with Lee about his work on the film.

Lee previously spoke to Art of the Cut about his work on The Mountain Between Us. Lee won an ACE Edie back in 1995 for his work on the film, Against the Wall. He won an Emmy for his work on Grey Gardens and another Eddie for the film, Taking Chance.

If you want to READ this interview with visual support and clips and trailers, go to  https://borisfx.com/blog/aotc/the-burial

Today we’re talking with Nena Erb, ACE about the film Joy Ride.

Nena has won two Primetime Emmys for her work on Project Greenlight and Insecure. She also has three ACE Eddie nominations - two for Insecure, and one for Crazy Ex-Girlfriend.

Her other work includes editing Justin Bieber’s Believe, the TV series Little America, and the feature film Little Owl, which also just released.

Today on Art of the Cut, it’s my pleasure to speak with Errol Morris’s longtime editor, Steven Hathaway. This discussion is about Morris’s latest documentary, The Pigeon Tunnel, about one of the world’s most famous novelists… and spy, John le Carre. The film recently released in theaters and is currently streaming on Apple Plus.

Hathaway has edited several films for Morris including American Dharma, The Unknown Known, and Standard Operating Procedure. He was also an associate editor on Morris’s Oscar-winning documentary “The Fog of War.”

Be sure to read along and check out the Avid timeline and other visual elements on borisfx.com/blog/aotc.

Today we’re talking with Oscar nominee and multiple BAFTA nominee Barney Pilling, ACE about editing Wes Anderson’s Asteroid City.

Barney has been nominated for BAFTAs for his editing of Spooks, Life on Mars, and The Grand Budapest Hotel. He was also nominated for a BAFTA and won an ACE Eddie for The Grand Budapest Hotel. 

His other work includes Mrs. Harris Goes to Paris, Annihilation, and Suffragette. Also, numerous TV series including Outcasts, Playhouse Presents, and Mum. 

Today on Art of the Cut we speak with Oscar-winning editor - and now DIRECTOR - William Goldenberg, ACE about his directorial debut - the NUMBER ONE GLOBAL MOVIE on Amazon - Unstoppable. Of course, we also have William’s editor - no, he didn’t edit it himself - Brett Reed. Brett and William have been working together for more than 20 years.

William has been on Art of the Cut many times, including for The Instigators, Air, The Outfit, News of the World, 22 July, Detroit, and Live By Night. Billy won the Oscar for Best editing, a BAFTA and an ACE Eddie for Argo. He was nominated for an ACE Eddie for Air, an Oscar nomination and a BAFTA nom for The Imitation Game, nominated for an Oscar for Zero Dark Thirty, nominated for an Oscar and an ACE Eddie for Seabiscuit, and for The Insider… and an Emmy for Citizen X. 

Brett was also on The Instigators. He was an editor on M. Night Shyamalan’s Old. He was also an additional editor on Transformers: Rise of the Beasts, Detroit and Live by Night.

This discussion includes - among other things - the editing skills that helped William transition to director, why - other than their long working relationship - that William chose Brett as his editor, editing handheld footage - and a fascinating bit of Hollywood lore about Led Zeppelin and the movie Argo.

If you'd like to read along with this interview and see the complete clips that we discuss in the interview, please go to:

borisfx.com/blog/aotc

Today on Art of the Cut, we discuss the ACE Eddie nominated documentary “All the Beauty and the Bloodshed” with one of its editors, Amy Foote. Joe Bini and Brian A. Kates, ACE weren’t available, but are also nominated for the film.

Amy’s credits include the documentaries Father Soldier Son, Hail Satan, A Matter of Taste: Serving up Paul Liebrandt, And Bombshell: The Hedy Lamar Story

Today on Art of the Cut we speak with the editing team of the Apple TV Plus show, The Morning Show. We’re speaking with Carole Kravetz Aykanian, Plummy Tucker, ACE, and Henk Van Eeghen, ACE.

Carole’s work includes features like The Little Prince, Out of Time, High Crimes, and Devil in a Blue Dress. Also TV series including Dirty John, Ballers, and The Affair. 

Plummy was last on Art of the Cut to discuss editing the feature film Destroyer. Other features include The invitation and Aeon Flux, and documentary work like Alex Gibney’s Client 9. Her other TV work includes Yellowjackets and Power.

Henk won an ACE Eddie for editing About Sarah, was nominated for three Emmys, including two for Lost, for which he was also nominated for two more ACE Eddies and then won an Emmy for Lost. His other work includes the TV series Watchmen and Fargo.

You can follow along with this podcast, reading the transcript and checking out the great visual support, like trailers, clips and other images at:

borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with  Emmy and ACE Eddie winning editor, Michelle Tesoro, ACE about editing Bradley Cooper’s Maestro.

Michelle won an Emmy and an ACE Eddie for editing Queen’s Gambit. 

She also edited the feature films Flag Day and On the Basis of Sex. And TV series including Fringe, House of Cards, When They See Us, and Ballers.

Today we’re talking with Eddie Hamilton, ACE about Mission: Impossible - Dead Reckoning. 

Eddie was last on Art of the Cut to discuss Top Gun Maverick - which was the most listened to episode of the last year. He’s also talked with Art of the Cut about Mission Impossible: Fallout,  Kingsman: The Golden Circle, Mission Impossible Rogue Nation, and Kingsman: Secret Service. I think that’s enough enormous blockbusters, but I’ll also throw in Kickass, Kickass 2, and X-Men First Class and even Resident Evil: Apocalypse almost two decades ago.

Today on Art of the Cut we talk with ACE Eddie-nominated editor, Angela Catanzaro, ACE about editing the latest Predator movie, “Prey.”

Angela last spoke with Art of the Cut about her film "The Protege" and before that for "Five Feet Apart." Her other features include "The Foreigner" and TV series including "Man in the High Castle," "Code Black," "Parenthood," "Suits" and "Friday Night Lights" (for which she was nominated for an ACE Eddie.)

Today on Art of the Cut, a little change of pace. August was the 30th anniversary of the movie, The Fugitive, directed by Andrew Davis and edited by Don Brochu, David Finfer, Dean Goodhill, Dov Hoenig, Richard Nord and Dennis Virkler. Why so many editors? You’ll soon find out as I talk to director Andrew Davis about the evolution of the film through editing, his thoughts on being one of the first directors to try to cut a film using Avid Media Composer, and what he looks for when choosing a new editor for a project.

Mr. Davis was nominated for a Golden Globe and a DGA Award for Best Direction for The Fugitive. His other films include Under Siege, Chain Reaction, A Perfect Murder, Collateral Damage, Holes, and The Guardian.

Today on Art of the Cut, we talk to the editors of Disney Plus’s “Obi Wan Kenobi” series. Those editors are (alphabetically): Nicolas de Toth, ACE, Kelley Dixon, ACE, and Josh Earl.

Nicolas de Toth has been a previous Art of the Cut guest for his film Gunpowder Milkshake. His other work includes Hitman: Agent 47, Gulliver’s Travels, X-Men Origins: Wolverine, and Live Free or Die Hard among others. He also edited the pilot of the Hawaii-Five-O reboot.

Kelley Dixon has also been a guest several times on Art of the Cut including for her work on the film The Goldfinch and for her work on Breaking Bad and Better Call Saul. Kelley’s other work includes the TV series The Falcon and the Winter Soldier, The Passage, Castle Rock, Preacher and Halt and Catch Fire. Kelley has won or been nominated for numerous Emmys and ACE Eddies.

Josh Earl was brought onto the project as a First Assistant Editor to Kelley Dixon and eventually co-edited the final episode of Obi Wan. His previous editorial work includes the feature film Shepard, and TV series including Race to the Center of the Earth, Bering Sea Gold, Around the World in 80 Ways, and Deadliest Catch for which he won numerous Emmys and an ACE Eddie.

Today on Art of the Cut we speak with Oscar-winning editor, Mark Sanger, ACE and editor Billy Rich about editing the Apple TV + series, Masters of the Air.

Mark’s been on Art of the Cut since we chatted about his Oscar-winning film, Gravity, more than a decade ago. We’ve also discussed editing Jurassic World Dominion, Transformers: Last Knight, and Pokemon, Detective Pikachu.

Billy Rich has edited features including Ghost in the Shell, Exodus: Gods and Kings, and Promised Land. And TV including Death and Other Details and Raised by Wolves.

You can follow along with this podcast and the transcript at

borisfx.com/blog/aotc

With the transcript that are clips and great visual support for the interview.

Today, we’re talking with Terilyn Shropshire, ACE on editing “The Woman King.” The last time I spoke with Terilyn, she had just edited “The Old Guard.” So, two films in a row with powerful female warriors! Terilyn has been nominated for a Primetime Emmy Award and she won an ACE Eddie for “Redemption: The Stan Tookie Williams Story.”

Terilyn’s other credits include another action flick with a strong female action lead, Miss Bala and the films Eve’s Bayou and Love and Basketball. She edited the extraordinary film The Secret Life of Bees and her TV credits include episode 1 of Ava DuVernay’s When They See Us. She was also an additional editor on A Wrinkle in Time.

Today we’re speaking with Jamie Kennedy who recently won the ACE Eddie for Best Edited non-theatrical Feature film for her work on Weird: The Al Yankovich Story.

She’s edited the feature film Blueprint, and TV shows like The Summer I Turned Pretty, On My Block, Love, Victor, Die Hart and Flipped. She was also an editor on Modern Family after several seasons on the show as an assistant editor.

Today on Art of the Cut, Sven Budelmann discusses his work on the film “All Quiet on the Western Front.” His editing on the film has been nominated this year for both a BAFTA and an ACE Eddie, and the film has been nominated for nine Oscars including Best Picture.

Sven’s other work includes the feature film, The Physician -among many others - and TV series - with work on seven European TV series - including The Defeated and Deutchland 83.

Today is the 400th episode of Art of the Cut. We’re talking with two of the editors of the TV series, Wednesday. They are Jay Prychidny, CCE and Ana Yavari.

Jay joined us just a few months ago to chat about editing Scream 6. Jay has won or been nominated for numerous Canadian Cinema Editors Awards for projects including The Alienist, Orphan Black, Canada’s Next Top Model, The Next Step, and Lost and Found Music Studios. He also won a BAFTA for The Next Step. His other credits include the TV series Snowpiercer, Altered Carbon, and Wednesday.

Ana edited the TV series From, which is currently airing. She was also an editor on The Handmaid’s Tale, and The Hardy Boys.

Today on Art of the cut, we speak with Emmy-nominated editor Michael Harte, ACE, about editing the Netflix docu-series, “Beckham.” He was also nominated for an ACE Eddie and a BAFTA for the series.

Harte won an Emmy, an ACE Eddie a BAFTA for his editing of the documentary “Still: A Michael J. Fox Movie.”  He was also nominated for an Emmy and an ACE Eddie for his editing of the documentary “Three Identical Strangers.”

We’re going to be discussing the need to know where and how the documentary  starts, the importance of archival that speaks in conversation with the interviews, and respecting the all-important power of the truth.

If you'd like to read along with the interview, check out the blog of the podcast, which includes trailers and exclusive images and more.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with director, writer, editor Sean Baker who was nominated for Oscars for Best Picture, Best Director, Best Screenplay, and Best Editing for his film, Anora. He was nominated for BAFTAs for Best Film, Best Editing, Best Casting, Best Screenplay and Best Director. He won AFI’s Movie of the Year, and was nominated for an ACE Eddie.

Sean’s other feature films include Red Rocket, Tangerine, and The Florida Project.

This discussion includes - among other things - why he chose to edit for himself, the importance of sound effects in a movie with no score, and Sean’s aversion to editing shot/reverse shot.

You can read along with this podcast and see trailers, clips and photos on the BorisFX blog site.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with editors Scott Morris and Oscar-winning editor Andrew Buckland, ACE about editing James Mangold’s A Complete Unknown.

Andrew’s been on Art of the Cut before for his work on The Girl on the Train, and for Ford v Ferrari for which he won an Oscar and a BAFTA and was nominated for an ACE Eddie. He also edited Indiana Jones and the Dial of Destiny.

Scott Morris has been on Art of the Cut previously to discuss The Creator and Ad Astra. In various capacities he was also worked on several other movies covered by Art of the Cut including Oppenheimer, Don’t Look up, and The Lost City of Z.

This discussion includes - among other things - the difficulties of editing folk music, compressing multiple scenes into a montage, and the sacrifices made cutting a three and a half hour editor’s cut down to size.

If you'd like to read along with this podcast and see trailers, clips and exclusive photos, check out the blog on:

borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking to the winner of the Indie Spirit Award for Best Editing: Daniel Garber, about his work on the film How to Blow up a Pipeline.

Daniel’s other work includes the feature film, Cam - which was also a collaboration with his “Pipeline” director, Daniel Goldhaber. Daniel has also worked in documentary editing on films like Some Kind of Heaven, and the documentary series, Naomi Osaka. He was also an additional editor on the Sundance documentary Riotsville, USA, which we featured on Art of the Cut several years ago.

Don't forget that you can read along with the podcast at borisfx.com/blog/aotc, where there are great timeline screenshots, images of the Premiere Productions set-up, trailers and clips!

Today on Art of the Cut, Oscar-winning editor Tom Cross, ACE on editing Damien Chazelle’s "Babylon."

I’ve been honored to have Tom on Art of the Cut five times before. Previously, we spoke about Joy, Hostiles, La La Land, First Man, and No Time to Die.

Tom was nominated for a BAFTA, and ACE Eddie and WON the Oscar for Best Achievement in Film Editing for Whiplash. He was nominated for an ACE Eddie for Joy. He was nominated for a BAFTA and an Oscar and WON an ACE Eddie for La La Land. He was nominated for a BAFTA and an ACE Eddie for First Man. And he was nominated for an ACE Eddie and WON a BAFTA for No Time to Die.

Today on Art of the Cut we speak with Emmy and ACE Eddie winner, Paul Crowder, ACE and Sierra Neal about Ron Howard’s documentary, “Jim Henson: Idea Man” which can be seen on Disney Plus.

Paul and Sierra have both been on Art of the Cut previously for their other documentaries with Ron Howard, “Pavarotti” and “The Beatles: Eight Days a Week.” 

Paul started his rise to editing fame with the documentary Dogtown and Z-Boys which won the Audience Award and directing award at Sundance in 2001 and an Independent Spirit Award in 2002. He had a long tenure with the VH-1’s Behind the Music series. Paul’s also a screenwriter and producer.

Sierra’s work includes the Guns N’ Roses: Live from New York documentary. And Ringo Starr’s Big Birthday Show. She was also an additional editor on the documentary, “Carlos” - about legendary guitarist Carlos Santana - which was recently featured on Art of the Cut.

If you'd like to see great clips, trailers and exclusive visual content, check out the blog and you can read along with the podcast!

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with the editors of Gran Turismo - Colby Parker, Junior, ACE, Austyn Daines, and co-editor, Eric Freidenberg.

Colby’s been on Art of the Cut before for his work on Mile 22. Colby was nominated for an ACE Eddie for his work on Ant-Man. His other work includes Patriot’s Day, Deepwater Horizon, Lone Survivor and Battleship.

Austyn has edited the feature film “Demonic” and the Travis Scott documentary, “Look Mom, I can Fly.”

Eric has cut features including Kandahar, and documentaries including The World of Thinking. He’s also cut TV including 30 for 30, 9-1-1, Unsolved Mysteries, and Chef’s Table. And he was an editor on the GT Academy TV series.

Today on Art of the Cut, we’re talking with Oscar-winner, Claire Simpson and Sam Restivo about editing Ridley Scott’s “Napoleon.”

Claire won an Oscar, a BAFTA, and an ACE Eddie for editing Platoon. She won a BAFTA and was nominated for an Oscar and an ACE Eddie for The Constant Gardner. Other films include Nine, Wall Street, and The Last Duel. 

Sam Restivo has been an additional editor on several films including The Greatest Showman, The Last Duel and House of Gucci. He was also an additional editor on the TV series Raised By Wolves.

Don't forget to READ this interview with great visual support at borisfx.com/blog/aotc.

Today on Art of the Cut we speak with Oscar nominee Jake Roberts, ACE, about editing Alien Romulus.

Jake has been on Art of the Cut previously for the films Brooklyn, Hell or High Water, and The Hitman's Bodyguard. He was also on for the TV series, Devs.

His work on Hell or High Water was nominated for an Independent Spirit Award, an ACE Eddie and an Oscar.

We’re going to be discussing director Fede Alvarez’s cinematic hack behind the jump scare, how pacing builds tension, and how they shot special effects in the cutting room.

You can read along with this interview and see trailers, film clips and stills from the movie at

borisfx.com/blog/aotc

Today on Art of the Cut we speak with two of the four editors of Avatar: The Way of Water. Joining us on the call are Stephen Rivkin, ACE and John Re-FUE-ah, ACE.

Rivkin won an ACE Eddie for Pirates of the Caribbean: The Curse of the Black Pearl. He was also nominated for ACE Eddies for Pirates of the Caribbean: Dead Man's Chest and Pirates of the Caribbean: At World's End. He was nominated for an Oscar, a BAFTA and an ACE Eddie for editing the first Avatar. Rivkin’s other credits include Fantastic Four, Ali, and My Cousin Vinny.

Refoua was also nominated for an Oscar, a BAFTA and an ACE Eddie for the first Avatar. His other credits include Transformers: The Last Knight, The Magnificent Seven, and Balls of Fury, plus TV including Law and Order, Ally McBeal, Dark Angel, Reno 911, and CSI: Miami.

One of those not on the call is David Brenner, ACE. David has been a previous guest on Art of the Cut for Zack Snyder’s Justice League and Batman versus Superman. He won an Oscar for Born on the Fourth of July. His other credits include Transformers: Age of Extinction, Man of Steel, Pirates of the Caribbean: On Stranger Tides, Independence Day and The Patriot. Sadly for the entire editing community, David died earlier this year, during production of Avatar 2: Way of Water.

The other editor not on the call is director James Cameron, ACE. James won an Oscar and an ACE Eddie and was nominated for a BAFTA for editing Titanic. He was also given the ACE Golden Eddie for Filmmaker of the Year in 2000. And he was nominated for an Oscar, a BAFTA, and an ACE Eddie for the first Avatar.

Today on Art of the Cut, we’re talking about Ghostbusters: Frozen Empire with editors Nathan Orloff and Shane Reid.

Nathan’s been a guest on Art of the Cut a few times including for the last Ghostbusters - Afterlife, and also for John Wick 4.

Shane Reid is coming from the world of TV spot editing - as you’ll hear in the interview and music videos. He’s really starting off his feature film career with this film and - amazingly - another in just a few months - Deadpool & Wolverine.

Today on Art of the Cut we’re talking with brothers, Sean and Ryan McIlraith. They are editors at Saturday Night Live and have edited many of the digital shorts that have gone viral over the last few years.

Sean’s been on the show as an editor since 2013, and has also cut episodes of That's My Time with David Letterman, The Tonight Show Starring Jimmy Fallon, and segments of NBC’s New Years Eve show. He’s currently cutting a feature film with some SNL alums.

Ryan’s been at SNL since 2018 and has been an editor there since 2019. He’s also cut on That's My Time with David Letterman, It’s Bruno, and The Hardest Job in Sports. Both brothers also cut short films and TV spots.

Today on Art of the Cut we speak with Nick Emerson about editing Conclave, for which he’s nominated for an ACE Eddie for Best Edited Feature Film, Dramatic/Theatrical.

Nick has been on Art of the Cut before, when we discussed the film Emma.

His other credits include the feature films Lady MacBeth, Eileen, and Greta, and TV series including The Life and Adventures of Nick Nickleby and Life After Life.

This discussion includes - among other things - the importance of slowly “drip-feeding the story to the audience, the use of slo-mo to add weight and importance, and how and when to break the 180 degree rule.

If you'd like to read along with this podcast and see some of the clips that we talk about, please check out:

borisfx.com/blog/aotc

Today on Art of the Cut, editors Fred Raskin, ACE and Greg D'Auria discuss the editing of James Gunn's Guardians of the Galaxy: Volume 3.

Fred’s been a guest on Art of the Cut for Quentin Tarantino's Hateful Eight. He was also a guest for Once Upon a Time in ... Hollywood. He was on for the previous Guardians movie and for The Suicide Squad. He also edited the first Guardians movie, Django Unchained, Fast and Furious, Fast And Furious: Tokyo Drift, and Fast Five.

Greg is also an alum of the Fast movies, having cut Fast and Furious 6, and Fast 9. His other work includes Star Trek: Beyond, among others. Raskin and D'Auria go back as assistant editors, both working on Kill Bill: Volume 1 under the legendary Sally Menke. They were also both editors on Bone Tomahawk.

Steve Hullfish interviews Oscar-winning editor, Mark Sanger, ACE about the editing of Jurassic World: Dominion. 

Mark discusses things like rhythm, pacing, structure and editing a dinosaur movie as if it's a James Bond/Jason Bourne movie. Also, why to immediately watch your films in reels instead of just as scenes - getting a correct sense of the rhythm and pace of the overall movie.

Today on Art of the Cut we speak with Oscar nominee, Juliette Welfling about Jacques Audiard's film, Emilia Perez, currently on Netflix.

Juliette's been on Art of the Cut before another of Audiard's films, The Sisters Brothers. Her other films include The Diving Bell and the Butterfly, for which she was nominated for an Oscar for Best Editing. She also edited the films: Rust and Bone, A Prophet, The Past, Free State of Jones and Ocean's Eight,

The discussion today is about - among other things - structuring a film for character, not allowing an editor's cut to go too long, and working with a naked director - metaphorically.

This podcast is also available transcribed as a blog with great visual support at:

borisfx.com/blog/aotc

Today on Art of the Cut, we talk to the editors of HULU’s “The Bear.” It’s got some really innovative editing and when I queried Art of the Cut fans about the shows they wanted to hear more about, “The Bear” was high on the list.

The editor of the pilot episode - and half of the others in the series - is Joanna Naugle. In addition to her work on “The Bear,” Joanna has also worked on TV series including Human Resources, Turning the Tables with Robin Roberts, Ramy, and Some Good News.

Adam Epstein’s other work includes more than a decade at Saturday Night Live, plus TV series including Mr. Mayor, That Damn Michael Che, and Some Good News.

Today on Art of the Cut, editors Michael Anthony Brown and Michael Oliver about their Emmy winning work on Welcome to Wrexham.

Brown also won an Emmy for his work on Wrexham last year. Other work includes the TV series, Mr. McMahon, Action, and Losers.

Oliver won a Sports Emmy 2011 for HBO’s 24/7 Penguins/Capitols. He’s also edited projects like Being Liverpool, We Are LAFC and Messi’s World Cup: The Rise of a Legend.

Today we’re talking with the Emmy-winning editors of this series about the importance of starting at a pace that gives you someplace to go, how to use slo-mo, and the games you play with the audience to keep them guessing.

If you want to follow along and READ this interview with trailers, clips and exclusive photos, check out:

borisfx.com/blog/aotc

Today we’re speaking with Nathan Orloff about John Wick 4. Nate was a guest on Art of the Cut previously for Ghostbusters: Afterlife. His other work includes the feature film "Plan B," and work as an additional or associate editor on "Samaritan," "The Front Runner” “Tully,” and “10 Cloverfield Lane.”

Today on Art of the Cut we’re talking with ACE Eddie winning editor, James Wilcox, ACE about the Ron Howard film, “Thirteen Lives.”

James won his ACE Eddie for the pilot episode of the Genius series “Einstein.” I last spoke with James when he edited “Hillbilly Elegy” which was also for Ron Howard. He also worked on the Aretha Franklin season of Genius as well as TV including Filthy Rich, Hand of God, Roots, Hawaii Five-O, CSI Miami, Reno 911!, Everybody Hates Chris and My Wife and Kids.

Today on Art of the Cut, Oscar-nominee Matt Chesse discusses the editing of "A Man Called Otto."

Matt was nominated for an ACE Eddie and an Oscar for “Finding Neverland.” His other feature film credits include "Christopher Robin," "World War Z," "Quantum of Solace," and "Monster’s Ball."

Today on Art of the Cut we are talking about cutting horror and suspense with Greg Ng and Graham Fortin who edited this summer’s Longlegs which is now available on VOD after its theatrical run.

Greg has been nominated and won numerous Canadian Cinema Editor and Leo Awards for TV and documentaries. His credits include the feature films Afflicted and Come and Find Me. He’s also edited for the great ESPN doc series, 30 for 30.

Graham’s credits include the documentaries Ari’s Theme, The Wrestlers, and the TV series Trumpocalypse.

Today we’re going to be discussing changing the beginning of the film, changing the end of the film and making all the moments in the middle as heightened as possible, emotionally.

If you'd like to follow along with this interview and read the transcript, as well as be able to see exclusive images from editing the movie and clips and trailers, check out:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with three guests: the co-director and show editor and montage editor of the documentary Ladies and Gentlemen: 50 Years of SNL Music.

Oz Rodriguez co-directed the documentary with Ahmir “Questlove” Thompson. Oz directed many of your favorite SNL Shorts, and has also directed episodes of Goosebumps and Nobody Wants This. 

John MacDonald was an associate producer on SNL. He’s an editor, composer and segment producer on The Tonight Show Starring Jimmy Fallon. You’ve probably had some of his YouTube videos running on repeat. 

Jimmy Lester has been nominated for a Documentary Emmy for  Stockton on My Mind. He’s edited episodes of Wu-Tang Clan: Of Mics and Men, History Channel’s FDR series, and the doc, Getting Naked: A Burlesque Story.

This discussion includes - among other things - why so many editors are also musicians, the value of a great assistant editor - and how to be one - and the art of using a talking head.

This is a really good show to check out the blog, which has many exclusive images that help show how the montage, in particular, was edited. Visit:

borisfx.com/blog/aotc

Today on Art of the Cut, Úna Ní Dhonghaíle, ACE discusses editing Disney’s Young Woman and the Sea.

Una was first nominated for an editing BAFTA 15 years ago. And again in 2013 and THREE TIMES in 2015. She won a BAFTA for Three Girls and was nominated for another BAFTA and an ACE Eddie for editing Kenneth Branagh’s Belfast which we discussed right here on Art of the Cut. She was also on Art of the Cut previously for her work on The Crown and for Death on the Nile.

Today we’re going to be talking about the importance of taking time to build up character for big emotional payoffs later, jump-cutting for emotion, and discovering that collapsing or compressing scenes can reveal new things, dramatically.

If you'd like to follow along with this interview and read the transcription as well as see clips, trailers and photos, check out the blog version of the podcast on Boris's site:

borisfx.com/blog/aotc.

Today on Art of the Cut we are speaking with Oscar-nominated editor Jay Cassidy, ACE, about editing David O. Russell's "Amsterdam."

Jay's been on Art of the Cut before for his editing of "A Star is Born" for which he was nominated for an ACE Eddie. His first ACE Eddie win was for "An Inconvenient Truth." He received his first Oscar nomination for "Into the Wild." He was also nominated for an Oscar and an ACE Eddie for "Fury" and received another Oscar nomination, and an ACE Eddie win for "Silver Linings Playbook," along with another Oscar nomination for "American Hustle."

Other work includes "The King of Staten Island," "Birds of Prey," and "Joy," in a career that includes more than 30 feature films.