Today on Art of the Cut we talk with multi-Oscar winning editor Kirk Baxter, ACE about editing Oscar-winning director, Kathryn Bigelow’s film, A House of Dynamite, now playing on Netflix.
Kirk’s been on Art of the Cut before to discuss Gone Girl, Mank, and The Killer and the TV series, Mindhunter. His other films include The Girl with the Dragon Tattoo, Social Network, The Curious Case of Benjamin Button, and Zodiac.
Today’s discussion is about the traits of a good editor, the advantages of cutting a movie linearly, and the sensitive nature of the editing room.
You can read along with this podcast and see clips and exclusive photos and timeline screenshots at BorisFX's blog site: borisfx.com/blog/aotc
Today on Art of the Cut we talk with Tyler Nelson, ACE, about editing Tron Ares.
Tyler’s been on Art of the Cut before numerous times including for his editing of The Batman, Creed III, and Mindhunter. He’s also been an editor on Love, Death and Robots and Shadow and Bone.
Today’s discussion includes a discussion of the use of previs, building rip-o-matics with Shot Deck, and juggling the power of a score by Nine Inch Nails with incredible sound design.
If you want to read along with this podcast you can visit BorisFX's blog site to see timeline screenshots, exclusive photos and more.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-nominated editor Barry Alexander Brown, ACE about editing Spike Lee’s latest film, Highest 2 Lowest.
Barry’s been on Art of the Cut before to discuss editing BlacKkKlansman, for which he was nominated for an Oscar and an ACE Eddie.
He was also nominated for an Oscar for The War at Home, a documentary he co-directed. His other films with Spike include sound design on She’s Gotta Have It, and editing on School Daze, Do the Right Thing, Malcolm X, Crooklyn, He Got Game, and Summer of Sam, among others. Barry’s also directed several feature films including The Who's Tommy:, the Amazing Journey, and Lonely in America.
If you want to, you can read along with this podcast on BorisFX's blog site.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Brian Kates, ACE, about editing Bill Condon’s Kiss of the Spider Woman.
Brian’s work includes feature films like Savages, Killing Them Softly, and Shortbus. Also documentaries like All the Beauty and the Bloodshed for which he was nominated for an ACE Eddie, and TV series like Succession, The Marvelous Mrs. Maisel, for which he won an Emmy, and Treme. In addition to his numerous nominations he has won two Emmys and two ACE Eddies.
Today’s discussion covers the tonal shifts between Technicolor music fantasy and imprisoned reality, managing to maintain a diverse filmography, and the joys and challenges of editing a musical.
You can read along with this interview at BorisFX's blog site.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with three members of the post team for Paul Thomas Anderson’s latest film, One Battle After Another.
Joining us are editor Andy Jurgensen, associate editor, Jay Trautman, and film assistant editor, Andrew Blustain. The film was shot in two different film formats including VistaVision and the film was finished in a variety of formats, leading to a complicated and fascinating post process.
Andy Jurgensen has been on Art of the Cut before for another Paul Thomas Anderson film, Licorice Pizza, for which he was nominated for a BAFTA and an ACE Eddie. Andy was also an assistant editor on Phantom Thread, Bombshell, Trumbo, and Inherent Vice.
Jay Trautman was a Visual Effects Assistant Editor on Dune 2, an assistant editor on Oppenheimer, first assistant editor on Licorice Pizza, and was an assistant editor on The Book of Bobba Fett, Grey’s Anatomy, and House of Cards.
Andrew Blustain was an assistant editor on Tenet, visual effects assistant editor on Dunkirk, an assistant editor on Oppenheimer, and second assistant editor (film) on Once Upon a Time in Hollywood.
Today’s discussion covers the technical details of the film’s VistaVision film production, the importance of creating dynamics, and the calibration of tone necessary to pull of the film’s transitions from dramatic to comic.
You can read along with this interview and see some cool excluisve photos, plus trailers, movie clips and featurettes by visiting the Boris FX website and blog at
borisfx.com/blog/aotc
Today on Art of the Cut, it’s my pleasure to speak with ACE Eddie-winning and Emmy-winning editor, Taylor Mason, ACE, about the film Him.
Taylor has been on Art of the Cut before for the feature film, Birth/Rebirth. She has also edited A Black Lady Sketch Show, Dahmer: Monster - The Jeffrey Dahmer Story, and Pose. She’s also been an assistant editor on Bladerunner 2049, Dune, and DC League of Super-Pets.
Today’s discussion is about leaning into the film’s themes for inspiration, and how Taylor used her own sports background and her father’s Super Bowl-winning career to lend authenticity to critical scenes.
You can read along with this podcast on the blog site which includes exclusive photos, clips and trailers.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Bob Joyce about editing “Spinal Tap II: The End Continues.”
Bob’s been nominated for a Emmy and an ACE Eddie for editing “Albert Brooks: Defending My Life.” Among other films his other work includes two other Rob Reiner features, Shock and Awe, and LBJ.
Today’s discussion is about the collaboration process with director Rob Reiner, using a synced recording of an audience screening to refine comic pacing, and why fantastic comic moments get deleted.
If you'd like to read along with this interview and see clips, trailers, timeline screenshots and exclusive photos, visit the BorisFX blog site:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-nominated editor, Andrew Weisblum, ACE, about cutting Darren Aronofsky’s film, Caught Stealing.
Andrew’s been on Art of the Cut before to discuss The French Dispatch, Alice Through the Looking Glass, and tick, tick, BOOM! - for which he was nominated for an Oscar and won an ACE Eddie. He was also nominated for an Oscar for editing Black Swan. His other work includes Wolfs, The Whale, Mother, and Isle of Dogs.
Today’s discussion is about the value of editing on-set, the benefits of having the editor speak into the script, and the dangers of reading the source material.
If you'd like to read along with this podcast and see clips, trailers and stills from the movie, visit the Boris FX blog site:
Borisfx.com/blog/aotc
Today on Art of the Cut we speak with editor Matt Villa, ACE about working with Ron Howard on his new film, Eden.
Matt’s been on Art of the Cut before for his editing of Elvis, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie . His other films include The Great Gatsby, Peter Rabbit 2, and The Lego Batman Movie for which he was nominated for an ACE Eddie.
Today’s discussion is about compressing a 3:40 editors cut down to size, finding subtext in performance, and so much more.
If you'd like to read along with this podcast, visit the BorisFX blog at: borisfx.com/blog/aotc
Today on Art of the Cut we’re speaking with editor Elísabet Ronaldsdóttir, ACE, and first assistant editor, Matt Absher about editing Nobody 2.
Elisabet has been on Art of the Cut before for Atomic Blonde, Shang Chi and the Legend of the 10 Rings, Bullet Train, and The Fall Guy. Elisabet has also edited Love Hurts, Kate, Deadpool 2, and John Wick.
Matt was on Art of the Cut with Elisabet for The Fall Guy. He was first assistant editor with Elisabet on all the aforementioned productions and has also been a first assistant editor on Us and Nope.
This week’s episode features an in-depth discussion of how to cut two movies at the same time, how the assistant director is the captain of the ship, and why Elisabet got a co-producer credit.
If you want to read along with this interview with clips, trailers and photos, go to the BorisFX blog site:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Joe Murphy about editing the new Zach Cregger movie, Weapons.
We last spoke to Joe and director Zach Cregger about their last collaboration, Barbarian. Joe’s other editing work includes features like Swallow, Don’t Come Back from the Moon and Beach Rats. His TV episodic work includes A Friend of the Family.
This week’s episode features an in-depth discussion of how to maximize a jump scare, the benefits of working with the director on multiple projects, and the value of NOT temp scoring the movie.
If you want to read along with the podcast, you can do it at the BorisFX blog!
borisfx.com/blog/aotc
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
