Today on Art of the Cut, we’re speaking with the editorial team of Beast Games. Including lead editor, Mack Hopkins, Nolan Ritter, Charles Kramer, ACE, Beast post supervisor Joshua Kulic, on-line post supervisor Lydiane Heckly.
Mack Hopkins is lead editor, co-host, and co-creator of Beast Games.
Nolan Ritter is a senior editor at the MrBeast YouTube channel in addition to his editing of Beast Games. He was also an editor on the upcoming series “The Larry David Story.”
Charles Kramer, ACE, is an Emmy-nominated editor of such shows as The Voice, The Osbourne’s, Project Greenlight and Big Brother.
Joshua Kulic is the Post Production supervisor and Executive Producer on Beast Games and MrBeast. His other TV work includes World of Waves and What Drives You.
Lydiane Heckly was a post production supervisor on Sneaker WarsL Adidas vs Puma, Pretty Baby: Brooke Shields, and History’s Crazy Rich Ancients.
This discussion includes how to coordinate the creative vision of more than 20 editors and 22 assistant editors, the role of probability when dealing with 1000 contestants and more than 1000 cameras, and the key ingredient in the Mr. Beast editorial style.
You can read along with this interview and see trailers, clips and exclusive images on the BorisFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut, we speak with the lead editor, David Palmer, and two additional editors, Sierra Neal and Jason Summers, about the Disney +/Amblin Television documentary, Music by John Williams.
David Palmer edited The History of the World… for now…, The Making of Close Encounters of the Third Kind, The Music of Indiana Jones, The Light and Magic of Indiana Jones, and The Making of Jaws.
Sierra Neal has been on Art of the Cut several times, including for Jim Henson: Idea Man, and Ron Howard’s Pavarotti. She also edited Guns N' Roses: Live in New York and was an additional editor on the documentary, Carlos.
Jason Summers edited 40 Years of E.T. The Extra-Terrestrial, Schindler's List: 25 Years Later, The Fabelmans: A Family in Film, and The World of Jurassic Park.
This discussion includes delivering a 90 minute first cut in under 2 months, the difficulties of dealing with licensed music and films, and the painful power of killing a fantastic story beat.
You can read along with this podcast on the BorisFX blog site! See clips, trailers and exclusive photos along with the transcribed text.
borisfx.com/blog/aotc
Today on Art of the Cut, ACE Eddie-nominee Angela Catanzaro, ACE, and ACE Eddie-winner Harry Yoon, ACE discuss editing the latest entry into the Marvel Cinematic Universe, Thunderbolts*.
Angela’s been on Art of the Cut before for Prey, The Protege, and Five Feet Apart. She also edited The Foreigner.
Harry’s been on Art of the Cut in the past for The Fire Inside, Shang-Chi and the Legend of the Ten Rings, Minari, The Best of Enemies, Detroit, and for the TV series Beef.
This discussion includes the benefits and drawbacks of editing on set, why this was a rare VFX-heavy movie with no previs, and how to prep your assistant editors to be ready to step into the chair.
You can also read along with the podcast on the Boris FX blog site to see exclusive on-set photos of the editors, clips, trailers and timeline screenshots.
borisfx.com/blog/aotc
Today on Art of the Cut we’re speaking with Oscar-nominee Richard Pearson, ACE, about editing The Accountant 2.
Richard’s been on Art of the Cut several times in the past for the original The Accountant film, also for Wonder Woman 1984, and Kong: Skull Island. Richard’s also worked on Men in Black 2, and the Bond movie, Quantum of Solace. He was nominated for an Oscar and an ACE Eddie and won a BAFTA for United 93. He was also nominated for an ACE Eddie and an Emmy for From the Earth to the Moon.
This discussion includes the use of invisible split-screens to craft pacing, developing montages, and the keys to editing a good action scene - of which, this movie has plenty of great examples.
If you'd like to see images and clips and trailers from the movie and from the editor, please check out the BorisFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Michael Shawver about editing Ryan Coogler’s feature film, Sinners.
Michael’s been on Art of the Cut in the past for his work on Black Panther. His other work includes Abigail, A Quiet Place 2, Creed, and Fruitvale Station.
This discussion includes - among other things - how the first scripted scene ended up in act 2 while the last scene ended up as the first scene, how therapy can turn you into a better editor, and the artistic challenges of one actor playing two parts.
You can read along with this interview and see stills from the movie, clips and trailers on the BorisFX blog of the same name:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with the editing team of the HBO series Dune Prophecy.
Amelia Allwarden, ACE has been on Art of the Cut in the past for Daisy Jones and the Six and Pen15. She also edited Westworld.
Anna Hauger, ACE has been on Art of the Cut before for Three Body Problem. She’s also edited Westworld, Station 11 and Watchmen.
Sarah C. Reeves, ACE has edited Westworld, Star Trek Picard, Gotham and The Walking Dead.
Mark Hartzell, ACE has edited The Last of Us, True Blood and Monarch: Legacy of Monsters.
This discussion includes - among other things - mentorship, how an assistant editor can show they’re ready to be elevated to “the chair” and how editing is best when it’s iterative.
You can read along with this podcast and see images, clips and trailers on the BORISFX blog:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Robin Peters about the film The Penguin Lesons. Robin was nominated for a BFE Cut Above Award for Best Edited Comedy Series for This Time with Alan Partridge. He’s also edited the film Benjamin and the TV series One Day. He was an additional editor on The Personal History of David Copperfield.
This discussion includes - among other things - the difficulties of temping music on a film with comedy and pathos, how the theme affects editing choices, and the importance of sending the audience out of the theater on the correct note.
You can read along with this podcast on the Boris FX blog to see timeline screenshots, stills, exclusive images and clips and trailers:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Julia Grove, ACE, Howard Leder, and Lai-San Ho, who edited the Hulu TV series, Paradise.
Julia was nominated for an ACE Eddie for her work on This is Us. She’s also edited Grey’s Anatomy, Scandal, and How to Get Away with Murder.
Howard has edited The Newsroom, American Gods, This is Us, and Perry Mason.
Lai-San has edited This is Us, Rabbit Hole, and The Company You Keep.
This discussion includes - among other things - a discussion about editing a show with no temp music, the judicious use of a single slo-mo shot, and why you move a scene from one episode to another.
If you'd like to read along with this interview, please check out:
borisfx.com/blog/aotc.
Today on Art of the Cut we speak with Doug Crise, ACE about editing Barry Levinson’s latest film, The Alto Knights.
Doug was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel. Then was nominated for a BAFTA and an ACE Eddie for Birdman. Also nominated for an Emmy and an ACE Eddie for Dopesick.
This discussion includes - among other things - that value of intercutting scenes that weren’t written to be intercut, building suspense through editing, and the revelation of the film’s original opening scene and why it changed.
If you'd like to read along with this podcast, the full transcript is available below, including clips, trailers and images.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Monique Zavistovski, ACE about editing the documentary Will & Harper. The film was nominated for a BAFTA, and Monique was nominated for an ACE Eddie and a BFE Cut Above award for Best Documentary Editing. Also this year, she edited The Only Girl in the Orchestra, a documentary short that won the Oscar for that category. We’ll speak with her about both films.
Monique has also edited the documentaries They Call me Magic, Raise Hell: The Life and Times of Molly Ivins and Served Like a Girl.
This discussion includes - among other things - staying true to the emotional journey of the characters, the difficult choices in killing your darlings, and using empathy to time reaction shots.
Read along with the podcast on the BorisFX.com blog to see trailers and exclusive images.
borisfx.com/blog/aotc
Today on Art of the Cut we’re speaking with the ACE Eddie-winning team of editors for Best Documentary Series - for HBO's Chimp Crazy. With us are supervising editor, Evan Wise, ACE, editors, Adrienne Gits, ACE, Doug Abel, ACE, Charles Divak, ACE, and additional editor Sascha Stanton Craven.
Evan’s been nominated for multiple Emmys and ACE Eddies, including for his work on Q: Into the Storm, and The Circus: Inside the Greatest Political Show on Earth. He’s also edited on the TV series The Anarchists.
Doug's been nominated for numerous Emmys and ACE Eddies. He edited the TV series Tiger King. He’s edited for The Oscars, and he edited the documentary Manda Bala: Send a Bullet.
Adrienne’s also been nominated for multiple Emmys and ACE Eddies including for her work on the documentaries and documentary series, Fearless, 100 Foot Wave, and Challenger: The Final Flight.
Charles has similarly been nominated for multiple Emmys and ACE Eddies including for his work on Full Frontal with Samantha Bee, and The Circus: Inside the Greatest Political Show on Earth.
Sascha edited the Jackass Forever Movie and Jackass 4.5. And cut the TV series On Cinema.
This discussion includes - among other things - how story structure informs the audience’s emotions, the joy of a good montage, and how Stanley Kubrick helped to deliver a climactic moment.
If you'd like to read along with this interview and see exclusive photos and timelines and watch the trailer, check out the Art of the Cut blog on BorisFX.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
