Today on Art of the Cut we speak with Julia Grove, ACE, Howard Leder, and Lai-San Ho, who edited the Hulu TV series, Paradise.
Julia was nominated for an ACE Eddie for her work on This is Us. She’s also edited Grey’s Anatomy, Scandal, and How to Get Away with Murder.
Howard has edited The Newsroom, American Gods, This is Us, and Perry Mason.
Lai-San has edited This is Us, Rabbit Hole, and The Company You Keep.
This discussion includes - among other things - a discussion about editing a show with no temp music, the judicious use of a single slo-mo shot, and why you move a scene from one episode to another.
If you'd like to read along with this interview, please check out:
borisfx.com/blog/aotc.
Today on Art of the Cut we speak with Doug Crise, ACE about editing Barry Levinson’s latest film, The Alto Knights.
Doug was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel. Then was nominated for a BAFTA and an ACE Eddie for Birdman. Also nominated for an Emmy and an ACE Eddie for Dopesick.
This discussion includes - among other things - that value of intercutting scenes that weren’t written to be intercut, building suspense through editing, and the revelation of the film’s original opening scene and why it changed.
If you'd like to read along with this podcast, the full transcript is available below, including clips, trailers and images.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Monique Zavistovski, ACE about editing the documentary Will & Harper. The film was nominated for a BAFTA, and Monique was nominated for an ACE Eddie and a BFE Cut Above award for Best Documentary Editing. Also this year, she edited The Only Girl in the Orchestra, a documentary short that won the Oscar for that category. We’ll speak with her about both films.
Monique has also edited the documentaries They Call me Magic, Raise Hell: The Life and Times of Molly Ivins and Served Like a Girl.
This discussion includes - among other things - staying true to the emotional journey of the characters, the difficult choices in killing your darlings, and using empathy to time reaction shots.
Read along with the podcast on the BorisFX.com blog to see trailers and exclusive images.
borisfx.com/blog/aotc
Today on Art of the Cut we’re speaking with the ACE Eddie-winning team of editors for Best Documentary Series - for HBO's Chimp Crazy. With us are supervising editor, Evan Wise, ACE, editors, Adrienne Gits, ACE, Doug Abel, ACE, Charles Divak, ACE, and additional editor Sascha Stanton Craven.
Evan’s been nominated for multiple Emmys and ACE Eddies, including for his work on Q: Into the Storm, and The Circus: Inside the Greatest Political Show on Earth. He’s also edited on the TV series The Anarchists.
Doug's been nominated for numerous Emmys and ACE Eddies. He edited the TV series Tiger King. He’s edited for The Oscars, and he edited the documentary Manda Bala: Send a Bullet.
Adrienne’s also been nominated for multiple Emmys and ACE Eddies including for her work on the documentaries and documentary series, Fearless, 100 Foot Wave, and Challenger: The Final Flight.
Charles has similarly been nominated for multiple Emmys and ACE Eddies including for his work on Full Frontal with Samantha Bee, and The Circus: Inside the Greatest Political Show on Earth.
Sascha edited the Jackass Forever Movie and Jackass 4.5. And cut the TV series On Cinema.
This discussion includes - among other things - how story structure informs the audience’s emotions, the joy of a good montage, and how Stanley Kubrick helped to deliver a climactic moment.
If you'd like to read along with this interview and see exclusive photos and timelines and watch the trailer, check out the Art of the Cut blog on BorisFX.com
borisfx.com/blog/aotc
Today on Art of the Cut we speak with the three editors of the Disney+/LucasFilm show Skeleton Crew which is from the Star Wars story universe.
Editor Andrew Eisen, ACE, has been on Art of the Cut before to talk about The Mandalorian for which he’s been nominated for two Emmys. He’s edited feature films including The Imitation Game and A House with a Clock in its Walls and was an additional editor on Guardians of the Galaxy 2.
Terel Gibson, ACE, also edited the recently released feature film The Astronaut, as well as the feature films Sorry to Bother You and Ready or Not. He also edited episodes of the TV series Hawkeye.
Kathryn Naranjo was an editor on Stranger Things and has been an assistant editor on feature films including The Adam Project, and Free Guy, also on TV series including Halt and Catch Fire.
This discussion includes - among other things - cutting the show three times: in storyboards, previs, and finally with live action footage from The Volume, how sound creates believable world-building, and when exactly do you use a “Star Wars Wipe.”
You can read along with the podcast on the blog where you can see timeline screenshots, exclusive images and more. Check out:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with three guests: the co-director and show editor and montage editor of the documentary Ladies and Gentlemen: 50 Years of SNL Music.
Oz Rodriguez co-directed the documentary with Ahmir “Questlove” Thompson. Oz directed many of your favorite SNL Shorts, and has also directed episodes of Goosebumps and Nobody Wants This.
John MacDonald was an associate producer on SNL. He’s an editor, composer and segment producer on The Tonight Show Starring Jimmy Fallon. You’ve probably had some of his YouTube videos running on repeat.
Jimmy Lester has been nominated for a Documentary Emmy for Stockton on My Mind. He’s edited episodes of Wu-Tang Clan: Of Mics and Men, History Channel’s FDR series, and the doc, Getting Naked: A Burlesque Story.
This discussion includes - among other things - why so many editors are also musicians, the value of a great assistant editor - and how to be one - and the art of using a talking head.
This is a really good show to check out the blog, which has many exclusive images that help show how the montage, in particular, was edited. Visit:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with the director and editor of the documentary film Ernest Cole: Lost and Found.
Director Raoul Peck won the Cannes Golden Eye Award and was nominated for a Palme d’or. He was nominated for a DGA Award for Outstanding Directorial Achievement. He won a BAFTA, an Emmy and was nominated for an Oscar and an Independent Spirit Award for his previous film, I Am Not Your Negro.
Editor Alexandra Strauss has been nominated for three Cinema Eye Honors Awards for Outstanding Achievement in editing including one for this film and two others you’ll hear about in the interview: I Am Not Your Negro and Exterminate all the Brutes.
This discussion includes - among other things - the ethical considerations of showing violence, how tone affects pace, and how the director/editor relationship can open the director up to be more objective.
If you'd like to read along with this podcast and see clips and trailers and stills from the documentary, check out:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Harry Yoon, ACE about his editing of the film The Fire Inside.
Harry has been on Art of the Cut before for his work on the films Shang-Chi and the Legend of the Ten Rings, Minari - for which he was nominated for an ACE Eddie, also The Best of Enemies, and Detroit. He’s also been on for the TV series, Beef, for which he won an ACE Eddie.
This discussion includes - among other things - working with a first time feature director, streamlining a narrative to increase impact, and how to build a scene that was never shot.
While you're listening you can also READ ALONG with this interview and see exclusive photos and clips and the trailer. There's a cool timeline screenshot and a picture of Harry's assistant editors with the STORY WALL in the cutting room!
Borisfx.com/blog/aotc
Today on Art of the Cut we speak with writer/director/editor, Brendan Bellomo of the Oscar-nominated documentary, Porcelain War. The film was nominated for an ASC Award for cinematography for its cinematographer, even though it was his first time using a camera. It won the DGA Award for Outstanding Directorial Achievement in Documentary. It won the PGA Award for Producing, won the Australian Screen Sound Guild Award and the HPA Award for Best Sound, and won the Sundance Grand Jury Prize award.
This discussion includes - among other things - determining the structure of the film based on emotion, why color grading needed to be part of the off-line edit, and how the editing pace was determined by the personality of the documentary’s subjects.
You can read along with this interview and see images including the timeline and clips and trailers on the BorisFX blog at:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with director, writer, editor Sean Baker who was nominated for Oscars for Best Picture, Best Director, Best Screenplay, and Best Editing for his film, Anora. He was nominated for BAFTAs for Best Film, Best Editing, Best Casting, Best Screenplay and Best Director. He won AFI’s Movie of the Year, and was nominated for an ACE Eddie.
Sean’s other feature films include Red Rocket, Tangerine, and The Florida Project.
This discussion includes - among other things - why he chose to edit for himself, the importance of sound effects in a movie with no score, and Sean’s aversion to editing shot/reverse shot.
You can read along with this podcast and see trailers, clips and photos on the BorisFX blog site.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Dávid Jancsó, the editor of The Brutalist.
David’s been busy! He also edited last year’s Monkey Man as well as films like Evolution and Pieces of a Woman as well as the TV series The Crowded Room and Treadstone.
This discussion includes - among other things - how editing is like Brutalist architecture, the purpose behind fracturing time, and the decisions on what to keep in a movie that runs three and a half hours.
You can read along with this interview and see clips and images at:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-winning editor - and now DIRECTOR - William Goldenberg, ACE about his directorial debut - the NUMBER ONE GLOBAL MOVIE on Amazon - Unstoppable. Of course, we also have William’s editor - no, he didn’t edit it himself - Brett Reed. Brett and William have been working together for more than 20 years.
William has been on Art of the Cut many times, including for The Instigators, Air, The Outfit, News of the World, 22 July, Detroit, and Live By Night. Billy won the Oscar for Best editing, a BAFTA and an ACE Eddie for Argo. He was nominated for an ACE Eddie for Air, an Oscar nomination and a BAFTA nom for The Imitation Game, nominated for an Oscar for Zero Dark Thirty, nominated for an Oscar and an ACE Eddie for Seabiscuit, and for The Insider… and an Emmy for Citizen X.
Brett was also on The Instigators. He was an editor on M. Night Shyamalan’s Old. He was also an additional editor on Transformers: Rise of the Beasts, Detroit and Live by Night.
This discussion includes - among other things - the editing skills that helped William transition to director, why - other than their long working relationship - that William chose Brett as his editor, editing handheld footage - and a fascinating bit of Hollywood lore about Led Zeppelin and the movie Argo.
If you'd like to read along with this interview and see the complete clips that we discuss in the interview, please go to:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with editors Scott Morris and Oscar-winning editor Andrew Buckland, ACE about editing James Mangold’s A Complete Unknown.
Andrew’s been on Art of the Cut before for his work on The Girl on the Train, and for Ford v Ferrari for which he won an Oscar and a BAFTA and was nominated for an ACE Eddie. He also edited Indiana Jones and the Dial of Destiny.
Scott Morris has been on Art of the Cut previously to discuss The Creator and Ad Astra. In various capacities he was also worked on several other movies covered by Art of the Cut including Oppenheimer, Don’t Look up, and The Lost City of Z.
This discussion includes - among other things - the difficulties of editing folk music, compressing multiple scenes into a montage, and the sacrifices made cutting a three and a half hour editor’s cut down to size.
If you'd like to read along with this podcast and see trailers, clips and exclusive photos, check out the blog on:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Nick Emerson about editing Conclave, for which he’s nominated for an ACE Eddie for Best Edited Feature Film, Dramatic/Theatrical.
Nick has been on Art of the Cut before, when we discussed the film Emma.
His other credits include the feature films Lady MacBeth, Eileen, and Greta, and TV series including The Life and Adventures of Nick Nickleby and Life After Life.
This discussion includes - among other things - the importance of slowly “drip-feeding the story to the audience, the use of slo-mo to add weight and importance, and how and when to break the 180 degree rule.
If you'd like to read along with this podcast and see some of the clips that we talk about, please check out:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Louise Ford, ACE about editing Robert Eggers’ “Nosferatu.”
Louise has been on Art of the Cut before, when we discussed Eggers’ The Northman.
Her other credits include the features Wildlife, Bad Education, and The Lighthouse among many others.
This discussion includes - among other things - the importance of sound design in horror films including the revelation of her personal secret sauce…her method to maintain emotional continuity and how she deals with the dark themes of her work with Eggers.
If you want to read along with this podcast and see exclusive images, trailers and film clips, check out:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-nominee Joi McMillon, ACE about the editing of Barry Jenkins’ Mufasa: The Lion King.
Joi’s been on Art of the Cut before for Moonlight - for which she was nominated for an Oscar and an ACE Eddie and for Underground Railroad. She also edited Jenkins’ If Beale Street Could Talk among many other projects.
The discussion today is about - among other things - the workflow similarities between Mufasa and Avatar, the benefits of watching dailies with the director and cinematographer, and the learning curve of cutting animation for the first time.
If you want to read along with this podcast, a full transcript - with great visual support of trailers and clips - can be seen at
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Hansjörg Weißbrich about editing September 5, which has been nominated for a Golden Globe for Best Picture. It was also nominated for Best Editing by the Independent Spirit Awards and tied for the win for the LA Film Critics Award for Best editing.
Hansjörg has been nominated for or won numerous German Best Editing awards. His work includes the feature films The Glory of Life, She Said and I’m Your Man, as well as the TV mini-series, Unorthodox, among many others.
The discussion today is about - among other things - editing footage shot documentary-style, the importance of being at the mix, and the precision needed to spot music cues.
Also, you can read along with this podcast and also see exclusing images and clips and trailers at
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-nominee Peter Sciberras, ACE about editing director Steve McQueen’s film, Blitz.
Peter was last on Art of the Cut for his work on Jane Campion’s Power of the Dog for which he was nominated for an Oscar and an ACE Eddie. His other films include The Rover, The King, and Foe, among many others.
The discussion today is about - among other things - finding the best moment to intercut between the film’s two main characters, the importance of the opening scene's visceral impact, and collaborating with the sound team and composer, Hans Zimmer.
You can read along with this interview and see clips, trailers and stills from the film at:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Sam Restivo and Oscar-winning editor, Claire Simpson about their editing of Ridley Scott’s Gladiator II.
Claire and Sam have been on Art of the Cut previously for their work on Ridley’s Napoleon.
Claire won an ACE Eddie, a BAFTA and an Oscar for her editing of Best Picture winner, Platoon. She was nominated for another Oscar and an ACE Eddie and won a BAFTA for her editing of The Constant Gardener. Along with Platoon, she’s edited two other Oscar Best Picture nominees: The Reader and Extremely Loud and Incredibly Close.
In addition to Napoleon and Gladiator II, Sam was an additional editor on The Last Showman, The Last Duel, House of Gucci and Robin Hood.
The discussion today is about - among other things - re-organizing the film to find the best moment to reveal critical information, the difference between editing action and dialogue scenes, and the importance of experimentation.
If you want to follow along with this podcast with a transcript and visual support including clips, trailers, and exclusive photos, check out the blog at:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar nominee, Juliette Welfling about Jacques Audiard's film, Emilia Perez, currently on Netflix.
Juliette's been on Art of the Cut before another of Audiard's films, The Sisters Brothers. Her other films include The Diving Bell and the Butterfly, for which she was nominated for an Oscar for Best Editing. She also edited the films: Rust and Bone, A Prophet, The Past, Free State of Jones and Ocean's Eight,
The discussion today is about - among other things - structuring a film for character, not allowing an editor's cut to go too long, and working with a naked director - metaphorically.
This podcast is also available transcribed as a blog with great visual support at:
borisfx.com/blog/aotc
