Today on Art of the Cut I’m speaking with Emmy-nominated editor, Susan Vaill, ACE, who’s joined by her assistant editor, Stephanie Goldstein to discuss editing the HBO series, Hacks.
Susan edited 70 episodes of Grey’s Anatomy and also directed three episodes. She won an ACE Eddie for editing Hacks, and this is her second Emmy nomination for the show. She’s also edited Abbott Elementary, The Time Traveler’s Wife, Space Force, and This is Us.
Stephanie has been an assistant editor on Gotham, Brooklyn 9-9, and Single Parents. She was bumped up to the editor’s chair on that show for 2 episodes.
On this episode, we talk about how an editor transitions to directing, understanding the process of notes and revisions, and - since this episode of Hacks is nominatead for an EMmy, how do you judge editing?
Today on Art of the Cut, Eric Kissack, ACE is here to discuss his Emmy-nominated editing on Seth Rogen’s TV series, The Studio.
In addition to his Emmy nod for The Studio, Eric’s been nominated for three ACE Eddies and an Emmy for The Good Place, and an Emmy for Veep, among lots of other films and TV series.
In this episode, Eric discusses the difficulties of editing a show that’s supposed to basically look like a oner for every scene, the fear of not being the funniest guy in the cutting room, and being on-set to essentially edit LIVE.
You can read along with this podcast and see great exclusive images, trailers and more at borisfx.com/blog/aotc.
Today on Art of the Cut, we’re in conversation with the Emmy-nominated editors of The Penguin. They are (in order of their nominated episodes) Henk van Eeghen, ACE, Meg Reticker, and Andy Keir.
Henk has been on Art of the Cut before for The Morning Show. Henk has won two Emmys and an ACE Eddie. His other past work includes the TV series Lost, Watchmen, and Fargo.
Meg has been nominated for five Emmy Awards and won an ACE Eddie - and was nominated for another, mostly for her work on 30 Rock. Her other work includes Tulsa King, Perry Mason, and American Rust.
Andy was nominated for ACE Eddies for two shows in 2009, winning for True Blood. His other work includes the TV series, Your Friends & Neighbors and Warrior, and the feature, Roger Dodger.
In this episode, discover the way perspective changes the edit, how to organize to allow deep notes from the showrunner, and keys to regulating tone with a minimum of music.
If you want to read along with this interview and see trailers clips and exclusive images, visit the BorisFX blog site at:
borisfx.com/blog/aotc
Today on Art of the Cut we’re discussing Superman with editors William Hoy, ACE and Craig Alpert, ACE. We’re also joined by embedded Avid sound mixer Ian Chase.
William’s been on Art of the Cut before for War for The Planet Of The Apes, The Batman, and The Call of the Wild. His other credits include Dawn of the Planet of the Apes, I, Robot, 300, Dances with Wolves, and the just-released Fantastic Four movie.
Craig has also been on Art of the Cut before for Borat Subsequent Moviefilm and Deadpool 2. He was nominated for an ACE Eddie for both of those films. He also edited Popstar: Never Stop Never Stopping, and Pineapple Express.
Ian Chase has been on the sound teams of Everything, Everywhere, All at Once, The Fantastic Four, Avatar: Fire and Ash, and Guardians of the Galaxy: Volume 3. He was nominated for a Golden Reel Award for She Hulk.
In this episode, Discover why the post-credit scene used to be IN the movie, how an “embedded sound person” helped deliver more than just sound, and why audiences needed a certain pace to discover a “new” Superman.
You can read along with this podcast on the BorisFX blog to see trailers, timeline screenshots and exclusive images. Visit:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Wyatt Smith, ACE about editing Universal’s live action version of How To Train Your Dragon.
Wyatt’s been on Art of the Cut before for Mary Poppins Returns. He was also on to discuss Doctor Strange. Wyatt’s other work includes editing the live action version of The Little Mermaid, Into the Woods, - for which he was nominated for an ACE Eddie - Harriet, and Pirates of the Carribean: On Stranger Tides. And he was nominated for an Emmy for Tony Bennett: An American Classic.
Discover the creative discussions about how closely a live-action remake should match its animated predecessor, taking montage inspiration from Alan Heim’s “All That Jazz,” and why lengthen some scenes and shorten others compared to the original film.
You can read along with this interview on the Boris FX blog. You'll find clips, trailers, timeline screenshots and exclusive images.
borisfx.com/blog/aotc.
Today on Art of the Cut we speak with Jabez Olssen, the Emmy-winning editor of Jurassic World Rebirth.
Jabez has been on Art of the Cut before to talk about Star Wars Rogue One - which was also directed by Jurassic World Rebirth’s Gareth Edwards - and for Peter Jackson’s documentary The Beatles: Get Back for which Jabez won an Emmy and an ACE Eddie. He was also nominated for a BAFTA for The Lord of the Rings: The Two Towers. His other work includes editing the three Hobbit movies, The Adventures of TinTin, and The Lovely Bones.
Our discussion is about how pacing changes and evolves through VFX deliveries, getting notes from Steven Spielberg, and leaving room to appreciate the wonder of an amazing world and so much more.
If you'd like to read along with this podcast and see clips, trailers and timeline screenshots, please visit BorisFX's blog site for Art of the Cut.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-winning editor, Stephen Mirrione, ACE about editing the summer blockbuster, F1.
Stephen’s been on Art of the Cut before when he edited The Revenant, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie. He was nominated for a BAFTA and an ACE Eddie for Birdman. He was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel. In 2006 he won the Cannes Film Festival technical Grand Prize for editing. And he won the Oscar and was nominated for a BAFTA and an ACE Eddie for editing Traffic. Not to mention - though I guess I AM mentioning - editing The Monuments Men, August: Osage County, Hunger Games, and Oceans 11, 12 AND 13.
This episode includes discussions of how editing pace is contextual, the value of editors speaking into the script, and how in the HELL do you cope with a 2000:1 shooting ratio!? Director Joseph Kosinski’s previous blockbuster, “Top Gun Maverick” was 800 hours of film for about a 200:1 ratio. And Apocalypse Now was notably insane at just 95:1.
And if you want to read along with this podcast and also see exclusive images, timeline screenshots - with explanations of each track, and trailers and clips, please check out the BorisFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with BAFTA, Emmy and ACE Eddie-winning editor, Michael Harte, ACE about the SXSW Audience Award-winning documentary, Deaf President Now, currently streaming on Apple TV+.
Michael’s been on Art of the Cut before for his ACE Eddie-winning show Beckham. He won an ACE Eddie and was nominated for a BAFTA for Still: A Michael J. Fox Movie. He won a Grierson Award and was nominated for an Emmy and an ACE Eddie for Three Identical Strangers.
This episode includes the answers to some interesting questions: When does real sound design need to be done during picture cut? When archival and interviews are equally strong, how do you choose? And when - and how - does it make sense to take the POV of your deaf protagonists?
You can read along with this podcast and see trailers, clips and images on the BorisFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut, Eddie Hamolton, ACE, discusses editing Mission: Impossible — The Final Reckoning.
Eddie’s been on Art of the Cut numerous times before for Mission: Impossible - Dead Reckoning. He was also on to discuss Top Gun Maverick - which was one of the most listened to episodes in Art of the Cut history. 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.
This is an in-depth discussion with Oscar-nominated editor Eddie Hamilton, ACE, about how to cull through 450 hours of footage to build a riveting 15-minute aerial sequence, the need to deliver powerful emotional scenes along with the exposition, and when exactly does an editor need to carry an airsick bag.
You really should go to BorisFX.com's blog site and read along with this interview to see some gorgeous timeline screenshots, exclusive photos from the movie you won't see anywhere else and clips and trailers.
Visit
borisfx.com/blog/aotc
Today on Art of the Cut, we’re speaking with the editorial team of Sirens. With us are Editors Catherine Haight, ACE, Laura Zempel, ACE, and Isaac Hagy, ACE. Jen Bryson is also credited as an editor on the show, but wasn’t with us for the interview.
Cate has been nominated for an Emmy and an ACE Eddie for her editing of the pilot of the TV series Transparent. She also was nominated for an ACE Eddie for the pilot of Girls. She also edited the TV series High Fidelity and feature films like The Good House and Puzzle.
Laura has been on Art of the Cut several times for the TV series Beef for which she won an Emmy and an ACE Eddie, Euphoria, for which she was nominated for an ACE Eddie. She also edited Lessons in Chemistry.
Isaac has been nominated for an Emmy and an ACE Eddie for the TV series Mr. And Mrs. Smith, won a Peabody Award and was nominated for an Emmy and an ACE Eddie for the TV series Atlanta.
You can read along with this interview and see great additional video and images on the BorisFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut, we’re speaking with the editorial team of Daredevil Born Again. With us are Emmy-winning editor Stephanie Filo, ACE, Melissa Lawson Chueng, and Cedric Nairn-Smith.
Stephanie has been on Art of the Cut to talk about her work on the film We Grown Now. And before that to discuss her Emmy and ACE-winning work on A Black Lady Sketch Show, her Emmy-nominated work on Dahmer: Monster - the Jeffrey Dahmer Story and History of the World Part II. Stephanie has also won an Emmy and a Peabody Award for her documentary editing work.
Melissa has been on Art of the Cut before for her editing of the film Mile 22, and for the TV series Outlander. She also edited the series Mr. Robot.
Cedric was an editor on Moon Knight and The Boys.
This discussion includes the power of sound design, the benefits of having an assistant editor who’s a great vocal impersonator, and when to start a scene on a close-up instead of on an establishing shot.
You can read along with this interview and see trailers, clips, exclusive photos and timeline screenshots at the BorisFX blog!
borisfx.com/blog/aotc
Today on Art of the Cut, we’re speaking with the editorial team of Beast Games. Including lead editor, Mack Hopkins, Nolan Ritter, Charles Kramer, ACE, Beast post supervisor Joshua Kulic, on-line post supervisor Lydiane Heckly.
Mack Hopkins is lead editor, co-host, and co-creator of Beast Games.
Nolan Ritter is a senior editor at the MrBeast YouTube channel in addition to his editing of Beast Games. He was also an editor on the upcoming series “The Larry David Story.”
Charles Kramer, ACE, is an Emmy-nominated editor of such shows as The Voice, The Osbourne’s, Project Greenlight and Big Brother.
Joshua Kulic is the Post Production supervisor and Executive Producer on Beast Games and MrBeast. His other TV work includes World of Waves and What Drives You.
Lydiane Heckly was a post production supervisor on Sneaker WarsL Adidas vs Puma, Pretty Baby: Brooke Shields, and History’s Crazy Rich Ancients.
This discussion includes how to coordinate the creative vision of more than 20 editors and 22 assistant editors, the role of probability when dealing with 1000 contestants and more than 1000 cameras, and the key ingredient in the Mr. Beast editorial style.
You can read along with this interview and see trailers, clips and exclusive images on the BorisFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut, we speak with the lead editor, David Palmer, and two additional editors, Sierra Neal and Jason Summers, about the Disney +/Amblin Television documentary, Music by John Williams.
David Palmer edited The History of the World… for now…, The Making of Close Encounters of the Third Kind, The Music of Indiana Jones, The Light and Magic of Indiana Jones, and The Making of Jaws.
Sierra Neal has been on Art of the Cut several times, including for Jim Henson: Idea Man, and Ron Howard’s Pavarotti. She also edited Guns N' Roses: Live in New York and was an additional editor on the documentary, Carlos.
Jason Summers edited 40 Years of E.T. The Extra-Terrestrial, Schindler's List: 25 Years Later, The Fabelmans: A Family in Film, and The World of Jurassic Park.
This discussion includes delivering a 90 minute first cut in under 2 months, the difficulties of dealing with licensed music and films, and the painful power of killing a fantastic story beat.
You can read along with this podcast on the BorisFX blog site! See clips, trailers and exclusive photos along with the transcribed text.
borisfx.com/blog/aotc
Today on Art of the Cut, ACE Eddie-nominee Angela Catanzaro, ACE, and ACE Eddie-winner Harry Yoon, ACE discuss editing the latest entry into the Marvel Cinematic Universe, Thunderbolts*.
Angela’s been on Art of the Cut before for Prey, The Protege, and Five Feet Apart. She also edited The Foreigner.
Harry’s been on Art of the Cut in the past for The Fire Inside, Shang-Chi and the Legend of the Ten Rings, Minari, The Best of Enemies, Detroit, and for the TV series Beef.
This discussion includes the benefits and drawbacks of editing on set, why this was a rare VFX-heavy movie with no previs, and how to prep your assistant editors to be ready to step into the chair.
You can also read along with the podcast on the Boris FX blog site to see exclusive on-set photos of the editors, clips, trailers and timeline screenshots.
borisfx.com/blog/aotc
Today on Art of the Cut we’re speaking with Oscar-nominee Richard Pearson, ACE, about editing The Accountant 2.
Richard’s been on Art of the Cut several times in the past for the original The Accountant film, also for Wonder Woman 1984, and Kong: Skull Island. Richard’s also worked on Men in Black 2, and the Bond movie, Quantum of Solace. He was nominated for an Oscar and an ACE Eddie and won a BAFTA for United 93. He was also nominated for an ACE Eddie and an Emmy for From the Earth to the Moon.
This discussion includes the use of invisible split-screens to craft pacing, developing montages, and the keys to editing a good action scene - of which, this movie has plenty of great examples.
If you'd like to see images and clips and trailers from the movie and from the editor, please check out the BorisFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Michael Shawver about editing Ryan Coogler’s feature film, Sinners.
Michael’s been on Art of the Cut in the past for his work on Black Panther. His other work includes Abigail, A Quiet Place 2, Creed, and Fruitvale Station.
This discussion includes - among other things - how the first scripted scene ended up in act 2 while the last scene ended up as the first scene, how therapy can turn you into a better editor, and the artistic challenges of one actor playing two parts.
You can read along with this interview and see stills from the movie, clips and trailers on the BorisFX blog of the same name:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with the editing team of the HBO series Dune Prophecy.
Amelia Allwarden, ACE has been on Art of the Cut in the past for Daisy Jones and the Six and Pen15. She also edited Westworld.
Anna Hauger, ACE has been on Art of the Cut before for Three Body Problem. She’s also edited Westworld, Station 11 and Watchmen.
Sarah C. Reeves, ACE has edited Westworld, Star Trek Picard, Gotham and The Walking Dead.
Mark Hartzell, ACE has edited The Last of Us, True Blood and Monarch: Legacy of Monsters.
This discussion includes - among other things - mentorship, how an assistant editor can show they’re ready to be elevated to “the chair” and how editing is best when it’s iterative.
You can read along with this podcast and see images, clips and trailers on the BORISFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Robin Peters about the film The Penguin Lesons. Robin was nominated for a BFE Cut Above Award for Best Edited Comedy Series for This Time with Alan Partridge. He’s also edited the film Benjamin and the TV series One Day. He was an additional editor on The Personal History of David Copperfield.
This discussion includes - among other things - the difficulties of temping music on a film with comedy and pathos, how the theme affects editing choices, and the importance of sending the audience out of the theater on the correct note.
You can read along with this podcast on the Boris FX blog to see timeline screenshots, stills, exclusive images and clips and trailers:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Julia Grove, ACE, Howard Leder, and Lai-San Ho, who edited the Hulu TV series, Paradise.
Julia was nominated for an ACE Eddie for her work on This is Us. She’s also edited Grey’s Anatomy, Scandal, and How to Get Away with Murder.
Howard has edited The Newsroom, American Gods, This is Us, and Perry Mason.
Lai-San has edited This is Us, Rabbit Hole, and The Company You Keep.
This discussion includes - among other things - a discussion about editing a show with no temp music, the judicious use of a single slo-mo shot, and why you move a scene from one episode to another.
If you'd like to read along with this interview, please check out:
borisfx.com/blog/aotc.
Today on Art of the Cut we speak with Doug Crise, ACE about editing Barry Levinson’s latest film, The Alto Knights.
Doug was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel. Then was nominated for a BAFTA and an ACE Eddie for Birdman. Also nominated for an Emmy and an ACE Eddie for Dopesick.
This discussion includes - among other things - that value of intercutting scenes that weren’t written to be intercut, building suspense through editing, and the revelation of the film’s original opening scene and why it changed.
If you'd like to read along with this podcast, the full transcript is available below, including clips, trailers and images.
borisfx.com/blog/aotc
