The Rough Cut

Editor - Michelle Tesoro, ACE

MAESTRO editor Michelle Tesoro is no stranger to cutting movies directed by actors.  In fact, it was while she was working with actor Sean Penn on his film FLAG DAY, that Penn turned to Michelle and told her that he just texted friend Bradley Cooper that she was a "goddess in the cutting room".  Clearly that pitch worked as Cooper entrusted Michelle with the editorial duties for his much-anticipated biopic.

MAESTRO chronicles the fearless love story and complicated lifelong relationship between music legend Leonard Bernstein and his wife Felicia Montealegre Cohn Bernstein.

Michelle Tesoro, ACE

Michelle Tesoro's most notable works include Netflix's Emmy-winning limited series THE QUEEN'S GAMBIT (2020), directed by Academy Award-nominated Scott Frank, for which she won the 2021 Primetime Emmy for Outstanding Single-Camera Picture Editing for a Limited or Anthology Series or Movie.

Tesoro's versatile slate also includes Ava Duvernay?s WHEN THEY SEE US (2019), Sean Penn's FLAG DAY (2021), Focus Features' biography of Supreme Court Justice Ruth Bader Ginsburg ON THE BASIS OF SEX (2018), and Netflix's Emmy-nominated series by Scott Frank, GODLESS (2017).

Tesoro was born and raised in Chicago, Illinois.  She graduated from Whitney M. Young High School, studied at the University of Illinois at Urbana-Champaign, and graduated from NYU?s Tisch School of the Arts.  Michelle currently resides in Los Angeles, California and is an active member of the American Cinema Editors (ACE). She is Co-Chair of ACE?s International Relations Committee for which she co-founded ACE?s International Partnership Program. She also sits on the 2023-2025 Board of TEMPO, a federation of international film editors associations.

Editing MAESTRO

In our discussion with MAESTRO editor Michelle Tesoro, we talk about:

Putting together a proof of concept When Sean Penn texts his friends about you Taking notes from Spielberg and Scorsese Quietly doing sound design Who the real Maestro is The Credits

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Hear Michelle talk about her work on the Netflix hit series, THE QUEEN'S GAMBIT

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Editor - Jon Poll

THE COLOR PURPLE editor Jon Poll was sure they had the wrong guy when his agent told him they were interested in having him come aboard as the editor.  He even joked they should probably call WHIPLASH and LA LA LAND editor, Tom Cross ACE.  While musicals were not necessarily a big part of Jon's background coming into the project, no one who sees THE COLOR PURPLE would ever question his prowess for interweaving a powerful narrative with incredible music.

THE COLOR PURPLE is a story of love and resilience, based on the novel and the Broadway musical of the same name.  It is a decades-spanning tale of one woman's journey to independence. Torn apart from her sister and her children, Celie faces many hardships in life, including an abusive husband.  With support from a sultry singer named Shug Avery, as well as her stand-her-ground stepdaughter, Celie ultimately finds extraordinary strength in the unbreakable bonds of a new kind of sisterhood.

Jon Poll

Jon has cut a wide array of films, from such acclaimed features as Bombshell, The Greatest Showman and 2022?s Father of the Bride, to box office hits like Austin Powers: The Spy Who Shagged Me and Goldmember, Meet the Parents and its sequel, and Scary Movie 3.  Poll made his feature directorial debut with the comedy drama Charlie Bartlett.

Poll and director Jay Roach are frequent collaborators on many projects.  In addition to the Austin Powers sequels, Poll co-produced, edited and directed second unit on Meet the Fockers, executive produced and edited The Campaign, executive produced, edited and directed the title sequence for Dinner for Schmucks, and edited Mystery, Alaska.  Poll also executive produced Judd Apatow?s The 40-Year-Old Virgin. His editing credits include the films Forever Young and Death to Smoochy.  Poll directed, edited and co-produced on the HBO series The Brink as well.

A graduate of USC?s Cinema school with a degree in film production, Poll resides in Los Angeles with Julia, his charming and lovely wife of 400 years.

Editing THE COLOR PURPLE

In our discussion with THE COLOR PURPLE editor Jon Poll, we talk about:

The reason to remake a movie Paging Tom Cross Making a musical vs a drama with music Watching the movie before making a single cut Getting real dancers to do the dance foley The Credits

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Editor - Hilda Rasula, ACE

When AMERICAN FICTION editor Hilda Rasula ACE first got the script from her agent, the director attached to it seemed more than a little familiar.  It turns out that Cord Jefferson, Hilda's casual acquaintance from the backyard barbecue circuit, would be helming his first feature.  Together the pair would create a movie that's one-part social satire, one-part family dramedy and wholly entertaining.

AMERICAN FICTION follows frustrated novelist-professor, Thelonius "Monk" Ellison (Jeffrey Wright), who's fed up with an establishment that profits from Black entertainment that relies on tired and offensive tropes. To prove his point, he uses a pen name to write an outlandish Black book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain.

Hilda Rasula, ACE

When she's not helping first-time directors launch their promising careers, editor Hilda Rasula is cutting films like VENGEANCE (2022) and MOVING ON (2022), as well as tv series such as OUR FLAG MEANS DEATH (2022), SMILF (2019) and TRANSPARENT (2014-17).

Editing American Fiction

In our discussion with AMERICAN FICTION editor Hilda Rasula, we talk about:

Trojan horse storytelling Staying away from the dark indigo blue territory Hilda and the traveling rug How it's tricky temping with jazz That first act...why is it always the first act The Credits

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Editor - Yorgos Mavropsaridis

POOR THINGS editor Yorgos Mavropsaridis was already an established editor when he first started collaborating with a young director named Yorgos Lanthimos.  At that point Lanthimos was only known for doing commercials, but by their third feature together, 2009's DOGTOOTH, the pair began to be recognized as a formidable storytelling team.  Over a decade later, they would finally take on what Yorgos Mavropsaridis considers their first true studio film, Searchlight Pictures' POOR THINGS.

POOR THINGS tells the story of a young woman, Bella Baxter, who was brought back to life by her guardian, the scientist Dr. Godwin Baxter.  Initially naïve, Bella was eager to learn about the world around her, albeit under Baxter's protection.  Wanting to see more, she ran off with Duncan Wedderburn, a slick and debauched lawyer, and traveled across continents.  Free from the prejudices of her times, Bella demanded equality and liberation.

Yorgos Mavropsaridis

Yorgos Mavropsaridis is most known for his work with POOR THINGS director, Yorgos Lanthimos, including Dogtooth (2009), The Lobster (2015) and The Favourite (2018), for which Yorgos received an Oscar nomination and an ACE Eddie award.

Editing Poor Things

In our discussion with POOR THINGS editor Yorgos Mavropsaridis, we talk about:

Polishing up the Ektachrome Making a studio film for the first time Feeling the atmosphere in the cutting room Going all "Godard" with ADR Ways to make the telling of the tale interesting The Credits

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Editor - Sam Restivo

NAPOLEON editor Sam Restivo credits the dutiful mentoring of editor Claire Simpson for how he found himself co-chairing the editorial duties for Ridley Scott's latest film.  Sam first worked with Claire as her assistant editor on the tv series RAISED BY WOLVES (2020).  From there, Claire brought Sam as her assistant to his first Ridley Scott feature, THE LAST DUEL (2021).  He would assist Claire one more time for Scott's HOUSE OF GUCCI (2021) before getting the promotion for NAPOLEON.

Ridley Scott's NAPOLEON is a look at the military commander's origins and his swift, ruthless climb to emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine.

SAM RESTIVO

Aside from his work with Claire Simpson and Ridley Scott, Sam has worked as an assistant editor on TV series like THE WALKING DEAD (2014) and BETTER CALL SAUL (2015) as well as being an additional editor for features such as THE GREATEST SHOWMAN (2017) and ROBIN HOOD (2018).

Editing NAPOLEON

In our discussion with NAPOLEON editor Sam Restivo, we talk about:

Going entertainment first, history lesson second Holding off on the V.O. until the end How sometimes subtitles are just funnier Turning 72, 48 and 36 frames into 24 The legend of Claire Simpson The Credits

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Editor - Mark Yoshikawa, ACE

Mark Yoshikawa, ACE made his return to the HUNGER GAMES universe after an eight-year break to cut the prequel, THE BALLAD OF SONGBIRDS & SNAKES.  Mark's first experience cutting on the franchise, and for director Francis Lawrence, was on the two-part MOCKINGJAY films.  THE HUNGER GAMES: CATCHING FIRE editor Alan E. Bell ACE reached out to his old friend Mark to enlist his help with the increased workload of the two-part conclusion the Katniss Everdeen storyline.

The Ballad of Songbirds & Snakes is the fifth film in the Hunger Games franchise and is set sixty-four years before the events of the first film.  It explores the events that eventually lead a young Coriolanus Snow down the path to becoming the tyrannical leader of Panem.  With the tenth annual Hunger Games fast approaching, the young Snow becomes alarmed when he's assigned to mentor Lucy Gray Baird from District 12.  Uniting their instincts for showmanship and political savvy, they race against time to ultimately reveal who's a songbird and who's a snake.

MARK YOSHIKAWA ACE

Aside from his work with director Francis Lawrence on the Hunger Games franchise, the two also collaborated on the feature SLUMBERLAND (2022) as well as episodes of the TV series SEE (2019).  Mark has also cut several films for director Terrence Malick, including: THE NEW WORLD (2005), THE TREE OF LIFE (2011), TO THE WONDER (2012) and KNIGHT OF CUPS (2018).  Mark has also worked on TV series such as SUCCESSION (2018) and WESTWORLD (2016).

Editing THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES

In our discussion with "HUNGER GAMES" editor Mark Yoshikawa ACE, we talk about:

Keeping pace with a big movie Going back to the book for inner monologues Taking a page on projectors from Alan Bell Bringing back the birds from Mockingjay Coming into a scene later and leaving earlier The Credits

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Get someone you love jewelry from Hunger Games editor turned silversmith, Alan E. Bell.

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Editor - Tom Eagles ACE

NEXT GOAL WINS editor Tom Eagles ACE first made a name for himself with his ACE Eddie-winning work on JOJO RABBIT (2019).  That film would also get Tom an Oscar® nomination for Best Film Editing.  With NEXT GOAL WINS, Eagles once again is found in the cutting room of a Taika Waititi film. Tom joined editors Nat Sanders ACE, Nick Monsour and Yana Gorskaya ACE for the "sports comedy with a heart".

Based on the 2014 documentary of the same name by Mike Brett and Steve Jamison, NEXT GOAL WINS is about Dutch American coach, Thomas Rongen's efforts to lead the American Samoa national football team, considered one of the weakest football teams in the world, to qualification for the 2014 FIFA World Cup. The storyline also includes fa'afafine player Jaiyah Saelua, who was the first transgender player ever to compete in a World Cup game.

TOM EAGLES ACE

Back in his home country of New Zealand, Tom Eagles built his career on a foundation of work with director Taika Waititi; including films such as WHAT WE DO IN THE SHADOWS (2014), HUNT FOR THE WILDERPEOPLE (2016), the TV series WELLINGTON PARANORMAL (2018) and their critically acclaimed film, JOJO RABBIT (2019). Looking to expand his career and broaden the scope of the work he could choose from, Tom moved his family from New Zealand to Los Angeles.  Aside from his work with Waititi, Eagles has also worked with director Jeymes "The Bullitts" Samuel on his first feature, THEY HARDER THEY FALL (2022), and their upcoming effort, THE BOOK OF CLARENCE (2024).

Editing Next Goal Wins

In our discussion with NEXT GOAL WINS editor Tom Eagles, we talk about:

Adding a character to give the film character Coming and going on the cutting crew Needle dropping Dolly The dailies delights of improv Taika Waititi - couch surfer The Credits

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Editor - Thelma Schoonmaker, ACE

KILLERS OF THE FLOWER MOON editor Thelma Schoonmaker ACE has literally had a front row seat to some of the most celebrated films of the past four decades, working as director Martin Scorsese's editor and filmmaking partner.  The pair reunite once again for KILLERS OF THE FLOWER MOON, starring Leonardo DiCaprio and Robert DeNiro, two mainstays of Scorsese's acting troupe, as well as Lily Gladstone, who delivers a breakout performance as Mollie Kyle.

KILLERS OF THE FLOWER MOON was directed by Martin Scorsese from a screenplay he co-wrote with Eric Roth, based on the 2017 non-fiction book of the same name by David Grann.  Set in 1920's Oklahoma, it focuses on a series of murders of Osage members and relations in the Osage Nation after oil was being produced on tribal land. Tribal members had retained mineral rights on their reservation, and whites sought to gain their wealth.

THELMA SCHOONMAKER ACE

Thelma Schoonmaker is a three-time Academy Award winner, having worked for more than 40 years alongside filmmaker Martin Scorsese. Schoonmaker has been honored with Oscars, most recently in 2007 for her work on Scorsese?s ?The Departed,? and in 2004 for his film ?The Aviator.? In 1981, she won both the Academy Award and BAFTA Award for editing Scorsese?s ?Raging Bull.? Subsequently, she worked on all of Scorsese?s features: ?The King of Comedy,? ?After Hours,? ?The Color of Money,? ?The Last Temptation of Christ,? the ?Life Lessons? segment from ?New York Stories,? ?Goodfellas? (which earned her another BAFTA Award, as well as an Oscar nomination), ?Cape Fear,? ?The Age of Innocence,? ?Casino,? ?Kundun,? ?Bringing Out the Dead,? ?Gangs of New York? (for which she received the ACE Eddie Award and was nominated for an Academy Award), ?Shutter Island,? ?Hugo? (for which she received another Oscar nomination), ?The Wolf of Wall Street,? and ?Silence.?

In addition to her film editing, Schoonmaker works tirelessly to promote the films and writings of her late husband, the director Michael Powell, among them ?The Red Shoes,? ?Black Narcissus,? ?The Life and Death of Colonel Blimp,? ?I Know Where I?m Going,? ?A Matter of Life and Death,? ?Tales of Hoffmann,? and ?Peeping Tom.?

Editing Killers of the Flower Moon

In our discussion with KILLERS OF THE FLOWER MOON editor Thelma Schoonmaker ACE, we talk about:

Leaning into the love story When to cut to DiCaprio or DeNiro Scorsese's shooting style The structural perfection of Goodfellas Twelve cuts to completion The Credits

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Director - Alexander Payne and Editor - Kevin Tent ACE

Longtime friends and collaborators, Alexander Payne and Kevin Tent, reunite once more for their eighth feature film, THE HOLDOVERS!

THE HOLDOVERS tells the tale of Paul Hunham (Paul Giamatti), a curmudgeonly instructor at a New England prep school who remains on campus during Christmas break to babysit a handful of students with nowhere to go. He soon forms an unlikely bond with a brainy but damaged troublemaker, and also with the school's head cook, a woman who just lost a son in the Vietnam War.

Alexander Payne

Director, producer and screenwriter Alexander Payne attended Stanford University, where he majored in Spanish and History.  He then went on to study film at UCLA Film School.  His university thesis film was screened at the Sundance film festival, which led to him being backed by Miramax to write and direct CITIZEN RUTH (1996).

Kevin Tent ACE

Editor Kevin Tent has the distinction of having edited all of Payne's feature films (as well as a TV pilot); including films such as CITIZEN RUTH (1996), ELECTION (1999), SIDEWAYS (2004) and THE DESCENDANTS (2011) for which Tent received an Oscar nomination.  Kevin is currently serving as president of the American Cinema Editors.

Making The Holdovers

In our discussion with Alexander Payne and Kevin Tent ACE from THE HOLDOVERS, we talk about:

The benefits of being an amiable, affordable, and available editor Demonstrating your abilities to not edit Coming out of the Criterion closet Giving a hall pass to laugh early in the film How it takes an audience to complete a film The Credits

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Editors ? Dana E. Glauberman ACE, James D. Wilcox ACE and Rosanne Tan ACE

AHSOKA editors Dana E. Glauberman ACE, James D. Wilcox ACE and Rosanne Tan ACE worked together for the very first time to help bring to life the story of Anakin Skywalker's former apprentice.  Although none of the three describe themselves as experts on the Star Wars universe, it's their gifts as storytellers that led Dave Filoni to trust them with his latest entry in the saga.

Set after the fall of the Empire, AHSOKA follows the former Jedi knight, Ahsoka Tano, as she investigates an emerging threat to a vulnerable galaxy.

DANA E. GLAUBERMAN ACE

When she's not lending her editorial talents to the Star Wars universe, Dana is cutting films like GHOSTBUSTERS: AFTERLIFE, CREED II, UP IN THE AIR and JUNO.  AHSOKA marks Dana's third tour of duty for Lucasfilm, having been part of the editorial crew for THE MANDALORIAN - S1 and THE BOOK OF BOBA FETT.

JAMES D. WILCOX ACE

A frequent collaborator with director Ron Howard, James cut Howard's adaptation of the book HILLBILLY ELEGY as well as his documentary THIRTEEN LIVES.  Unlike most feature editors who started their journey in post as an assistant, James actually started out as a full-time editor working in news and sports.  This is James' third appearance on The Rough Cut.

ROSANNE TAN ACE

Like Dana, Rosanne Tan ACE makes her 4th appearance on The Rough Cut!  Prior to AHSOKA, Rosanne was making her mark with another Disney studio, cutting Marvel's HAWKEYE and THE FALCON AND THE WINTER SOLDIER.  Before her tour of duty with Disney, Rosanne was editing tv shows that featured action, intrigue and high drama; notably MR. ROBOT and HOMECOMING.

Editing Ahsoka

In our discussion with the AHSOKA editors, we talk about:

Cribbing Kurosawa's Kagemusha Representing the audience in the cutting room Pressing pause on Pittsburgh in VFX meetings Dialing up Dune for the sound design Ahsoka Tano and the Shawshank Redemption The Credits

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Editor Dana E. Glauberman ACE on cutting Ghostbusters: Afterlife and The Book of Boba Fett

Hear James D. Wilcox ACE talk about cutting Hillbilly Elegy and Thirteen Lives

Rosanne Tan ACE on editing Homecoming, The Falcon and the Winter Soldier and Hawkeye

Listen to parts one and two from the Season One interview with Dana and The Mandalorian editors

Check out the Season Two interview with the editors from The Mandalorian

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Editors - Varun Viswanath ACE and Patrick Tuck

The RESERVATION DOGS editing team of Varun Viswanath ACE and Patrick Tuck have spent the last two of the show's three seasons, working together to close the loop on multiple, multi-generational stories.  Considering that the focus was just on the four teens when Varun started the journey with the Season One pilot, this was no small feat. There was no roadmap as to how their lives and their stories would interconnect with the generations of "Rez Dogs" that came before.

RESERVATION DOGS follows the exploits of four Indigenous teenagers in rural Oklahoma who steal, rob and save in order to get to the exotic, mysterious and faraway land of California. To succeed, they will have to save enough money, outmaneuver the methheads at the junkyard on the edge of town and survive a turf war against a much tougher rival gang. 

VARUN VISWANATH ACE

Varun is a Film & TV Editor based in Los Angeles, CA.  He is a member of the American Cinema Editors and the Motion Pictures Editors Guild, and has an MFA in Film Editing from The American Film Institute Conservatory.  His work on What We Do In The Shadows was nominated for Best Edited Comedy Series at the 2021 ACE Eddie awards.

PATRICK TUCK

Patrick Tuck is a versatile editor who most recently edited FX?s Dave and Mo for Netflix. Getting his start in the commercial and documentary world, Patrick prides himself on his talent for balancing genres and styles to create unique tones and rhythms, as well as his ability to find solutions for the toughest creative puzzles.

Editing Reservation Dogs

In our discussion with the RESERVATION DOGS editing team, we talk about:

Overwriting the story by a half, so you can cut it down by a third Taking tonal adventures Stringing together "joke pods" Drug tripping just enough to earn a visit from the aliens The Quentin connection The Credits

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Editor - Scott Morris

THE CREATOR editor Scott Morris not only already had experience in the sci-fi genre, having worked on AD ASTRA (2019), but also experience working with co-editor Hank Corwin ACE.  Alongside Oscar®-winning editor Joe Walker ACE, the three helped realize Gareth Edwards' vision of a world where AI and humanity are at war; each racing to deploy their own solution to eliminate the threat of the another.

THE CREATOR...As a future war between the human race and artificial intelligence rages on, ex-special forces agent Joshua is recruited to hunt down and kill the Creator, the elusive architect of advanced AI. The Creator has developed a mysterious weapon that has the power to end the war and all of mankind. As Joshua and his team of elite operatives venture into enemy-occupied territory, they soon discover the world-ending weapon is actually an AI in the form of a young child.

SCOTT MORRIS

THE CREATOR sees Scott collaborating once again with editor Hank Corwin ACE.  Scott co-edited Adam McKay's DON'T LOOK UP (2021) with Hank and also assisted him on an episode of WINNING TIME: THE RISE OF THE LAKERS DYNASTY (2022).  In addition to his work with Hank, Scott has worked as an assistant on THE LOST CITY OF Z (2016) and PAPILLON (2017), and edited AD ASTRA (2019) with editor Jon Axelrad ACE.

Editing The Creator

In our discussion with THE CREATOR editor Scott Morris, we talk about:

Making the handoff from one post crew to another Shooting sci-fi with an indie doc approach Exploring the themes of man v machine Editing room inspiration through better decoration Doing your homework on the director The Credits

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Editors - Kevin D. Ross ACE, Eric Litman, Adam Pearson and Daniel Williams

The ONE PIECE editing team knew full well, going into this live-action adaptation of the beloved manga series, that they had a huge challenge on their hands.  Expectations were high and previous attempts to adapt other manga series had left those fanbases disappointed, to say the least.  Fortunately, they had a talented crew around the globe, plus ample time and resources from Netflix to finally crack the code of making a hit series that would satisfy the die-hard manga fandom.

ONE PIECE follows the adventures of the Straw Hat Pirates as they explore the dangerous oceans, lands, and beyond in search of the "One Piece", a fabled treasure that will make their captain, Monkey D. Luffy, "King of the Pirates".  But the Marines are on their ship's tail, and they are not the only crew searching for the One Piece.  Armed with skills and an unbreakable friendship, the Straw Hats are ready for the journey and even more ready to fight for their dreams together.  Adapted from the legendary manga series from author Eiichiro Oda, ONE PIECE was developed as a live action series for Netflix by Matt Owens and Steven Maeda under the watchful eye of Oda.

KEVIN D. ROSS, ACE

Raised in the heartland of America, Kevin Ross grew up a typical bored youth in the small town of Farmington, Missouri. A product of a Norman Rockwell-like family with loving parents and four younger siblings, Ross attended the University of Missouri School of Journalism. After graduating, he headed for the lights and lure of Hollywood. He earned his MFA from the USC School of Cinema-Television and has been happily working in the film industry ever since.  Aside from ONE PIECE, Kevin has edited such shows as HALT AND CATCH FIRE (2014-16), STRANGER THINGS - S1/2 and YELLOWJACKETS (2021-23).

ERIC LITMAN

Pennsylvania native Eric Litman is known for his work on FINAL DESTINATION 5 (2011), AGENTS OF S.H.I.E.L.D. (2013) and STAR TREK: PICARD (2023).

ADAM PEARSON

Actor-turned-editor Adam has assisted on shows such as DOPESICK (2021) and THE ROOKIE (2021).  In addition to ONE PIECE, his work as an editor can be seen in BEVERLY HILLS PAWN (2014) and UFOs: THE LOST EVIDENCE (2017).

DANIEL WILLIAMS

In addition to working alongside Kevin Ross on ONE PIECE (2023) and YELLOWJACKETS (2023), Daniel has also assisted on THE X-FILES (2018) and SACRED LIES (2018-20).

Editing ONE PIECE

In our discussion with the ONE PIECE editing team, we talk about:

24-hour cutting rooms Endearing dailies The beauty of Paint Tool sock puppets Keeping score on youthful tension Toning down the temp effects The Credits

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Editors - David Webb and Robert Frost

HIJACK editors David Webb and Robert Frost have logged many sky miles together in the cutting room, but mostly with Rob as David's assistant.  That all changed when David tapped Rob to take on full editing duties for their previous collaboration, LITVINENKO (2022); a critically acclaimed series directed by Jim Field Smith for ITV.

HIJACK is a seven-part miniseries created by George Kay and Jim Field Smith that premiered June 28th, 2023 on Apple TV+.  It is a pseudo real-time account of the hijacking of Kingdom Air Flight KA29, during its seven-hour journey from Dubai to London.  On board the flight is corporate negotiator Sam Nelson (Idris Elba), who tries to use his professional skills to save everyone on board.

David Webb

David Webb is Partner, Managing Director and a film editor at Final Cut Limited.  Webb cut his teeth on music videos in the early 2000's for George Michael, Paul McCartney and Robbie Williams among others.  David also collaborated with Edgar Wright on many of his early music videos, including Mint Royale's 'Blue Song'.  That video was notably the inspiration for Wright's film, 'Baby Driver'.  David spent a decade cutting commercials before moving into long-form at the request of HIJACK director Jim Field-Smith and has collaborated with Jim ever since.  Together the two have worked on; THE WRONG MANS, ENDEAVOUR, CRIMINAL, DEFENDING THE GUILTY and TRUTH SEEKERS.  David's work can also be seen in the coming-of-age series, SEX EDUCATION.

Robert Frost

UK-based editor Rob Frost's most recent credits include being the assembly editor on LITVINENKO (2022) and assistant editor for; SEX EDUCATION Season 2/3 (2020-21), LANDSCAPERS (2021), CRIMINAL UK Season 2 (2020), 47 METERS DOWN: UNCAGED (2019) and STRIKE BACK Season 7: Revolution (2019).

Editing HIJACK

In our discussion with HIJACK editors David Webb and Robert Frost, we talk about:

Making the move to the editor's chair Telling tales in real time Cutting first, watching dailies later Serving up a visual sorbet Perfecting the practical effects in the cutting room The Credits

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Editors - Nick Olah, Marissa Mueller and Ivan Victor ACE

THE AFTERPARTY editors; Nick Olah, Marissa Mueller and Ivan Victor ACE, not only got to have fun with the classic "Roshomon" style of storytelling for the Apple TV + original series, but they also got to do it by paying homage to their favorite film genres and filmmakers.  From erotic thrillers to film noir, from Hitchcock to Wes Anderson, no style and no "body" was spared in their comedy whodunnit.

In Season Two of THE AFTERPARTY, Aniq (Sam Richardson) and Zoë (Zoë Chau) are celebrating one year together following last season's events. They attend the wedding of Zoë's sister, Grace (Poppy Liu), to an eccentric Silicon Valley businessman named Edgar (Zach Woods). When Edgar and his pet lizard Roxana are found dead the following morning, Aniq calls Detective Danner (Tiffany Haddish) for help. Danner, who has left the LAPD to write a book about the murder she solved in Season One, agrees to take the case before the local police get involved.  Once the interrogations begin, it's clear that everyone had a motive to send the groom to his grave.

Nick Olah

O.G. "Afterparty" editor Olah not only brought eight episodes of Season One experience of the show into Season Two, but he also brought his history of cutting such shows as: THE LAST MAN ON EARTH (2017-18), MacGRUBER (2021) and YOUNG ROCK (2022).

Marissa Mueller

Joining THE AFTERPARTY for the first time in Season Two, Marissa already had a friend and former YOUNG ROCK (2022) colleague in Nick Olah welcoming her to the series.  Marissa's other credits include shows like NCIS: LA (2012-16) and BASED ON A TRUE STORY (2023).

Ivan Victor, ACE

Editor Ivan Victor makes his second appearance on The Rough Cut, following his turn talking about his work on the Amazon Prime show, PAPER GIRLS (2022).  Ivan has also helmed the Avid for: JACKASS (2000-02), I LOVE MONEY (2008-10) and PARKS AND RECREATION (2009-12).

Editing THE AFTERPARTY

In our discussion with the editors of THE AFTERPARTY, we talk about:

Keeping the sleuthing in sync Watching out for leaping lizards Making the most out of Africa How editors organize their refrigerators Going "IG Official" for laughs The Credits

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Editors - Diana Fishman, Adam Lichtenstein and Mary DeChambres ACE

The JURY DUTY editing team had plenty of experience cutting unscripted tv before taking on the hit Freevee series.  But is it actually an unscripted show?  To hear their fellow JURY DUTY editor Steven Rosenthal tell it, they were "using the techniques of a reality show for the purposes of a sitcom".  The end result is a series unlike any in either the unscripted or scripted comedy genres.

JURY DUTY is a reality/sitcom tv series that chronicles the inner workings of a U.S. jury trial through the eyes of juror Ronald Gladden, a solar contractor from San Diego.  Ronald is unaware that his jury duty summons was not official.  Everything that happened, inside and outside the courtroom, was planned.  And everyone in the courtroom, aside from him, was an actor.  The series was produced by; Ruben Fleischer, Nick Hatton, Cody Heller, Gene Stupnitsky, Todd Schulman, Lee Eisenberg, David Bernad and Andrew Weinberg.  Jake Szymanski also produced and directed.

Diana Fishman

Editor Diana Fishman is known for her work on the shows; GRACE AND FRANKIE (2015), THE UCB SHOW (2016-17) and SOUTH SIDE (2019-21).

Adam Lichtenstein

Born with a natural love for time code, Adam showed an early preference for non-drop frame, then rose through the editorial ranks pretending to enjoy sports, overusing terms like "shots on goal", "swish", "in your face" and "that's what I'm talking about" without the slightest idea what he was talking about.  He recently completed work on the documentary, FILM GEEK (2023) directed by Richard Shepard.

Mary DeChambres, ACE

In addition to her work crafting the finale of JURY DUTY, Emmy®-winning editor Mary DeChambres is known for cutting unscripted hits such as; PROJECT RUNWAY (2008), AMERICAN NINJA WARRIOR (2013-23) and THE REAL WORLD (2002-03).

Editing JURY DUTY

In our discussion with the JURY DUTY editing team, we talk about:

Using reality tv techniques for a sitcom Managing billions and billions of hours of footage Never making fun of the hero One assistant, no waiting Breaking down the big reveal The Credits

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Editor - Colby Parker Jr., ACE

GRAN TURISMO editor Colby Parker Jr ACE has largely built his feature-film editing career on high-adrenaline action films, most notably for his work with director Peter Berg; including FRIDAY NIGHT LIGHTS (2004), PATRIOTS DAY (2016), DEEPWATER HORIZON (2016) and MILE 22 (2018).  Colby even took a turn in the MCU, cutting ANT-MAN (2015) alongside Dan Lebental ACE.  Bypassing the usual assistant editor route, Parker began his professional journey cutting music videos, which he credits with helping to build his editorial chops for the action genre.

The true story of a team of unlikely underdogs -- a working-class gamer, a former race-car driver, and an idealistic motorsport executive, GRAN TURISMO is directed by Neill Blomkamp from a screenplay by Jason Hall and Zach Baylin. Produced by Columbia Pictures, PlayStation Productions, and 2.0 Entertainment, it is based on the racing simulation video game series of the same name and tells the true story of Jann Mardenborough, a teenage Gran Turismo player who became a professional race car driver. 

Editing Gran Turismo

In our discussion with GRAN TURISMO editor Colby Parker Jr. ACE, we talk about:

Going from Berg to Blomkamp Starting with score, but skipping SICARIO Gamer Vision The sight and sound duties of assistant editors Fighting back against the director The Credits

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Editors - Justin Bourret ACE, Todd Zelin, Dave Canseco and Joseph Ettinger

If THE RIGHTEOUS GEMSTONES editors ever tire of working in postproduction, perhaps they can get a job at Cinnabon, because their cutting rooms have the unique distinction of being located in a mall.  But considering how much fun the quartet has working on the show and with one another, that career change might just have to wait awhile.  For now, audiences can enjoy three seasons of their hilarious work on MAX.

THE RIGHTEOUS GEMSTONES are living proof that worship pays dividends in all sizes. Patriarch Eli (John Goodman), the man most responsible for the tremendous success of the family's megachurch, is in mourning over the loss of his wife. Jesse (Danny McBride), the eldest of the three grown Gemstone siblings, looks to lead in his father's footsteps, but finds his past sins jeopardizing the family ministry. Next in line comes middle sister Judy (Edi Patterson), who secretly lives with her fiancé and dreams of escaping the Gemstone compound. Rounding out the dysfunctional trio is pseudo-hipster Kelvin (Adam DeVine), the youngest of the preachers and a thorn in Jesse's side. As the family battles numerous threats to their renowned religious empire, they continue to spread the good word... and make a solid buck doing so.

JUSTIN BOURRET, ACE

In addition to his editorial duties, Justin also serves as co-producer on THE RIGHTEOUS GEMSTONES. He is also known for his work on FOR ALL MANKIND (2019) and VICE PRINCIPALS (2016).

TODD ZELIN

New Jersey native Todd is an editor and producer, known for FRESH OFF THE BOAT (2015) and ARRESTED DEVELOPMENT (2003).

DAVE CANSECO

David Canseco began his journey with THE RIGHTEOUS GEMSTONES in Season 1 as an assistant editor, before working his way up to editor on Season 3.  He has also worked on THE GOLDBERGS (2013) and POOLMAN (2023).

JOSEPH ETTINGER

New to the Gemstones team in Season 3, Joseph is also known for ROAR (2022) and DEAD TO ME (2019).

Editing THE RIGHTEOUS GEMSTONES

In our discussion with the "GEMSTONES" editing team, we talk about:

Setting up shop in Sears Walking the tonal tightrope Going to editing summer camp Mining the gems from all that footage Fun with full frontal nudity The Credits

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Editors - Kelley Dixon, ACE and Josh Earl, ACE

The OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE have long been friends outside of the cutting room, but "Obi-Wan" is the first project they've shared.  5x Emmy-winning editor, Josh Earl didn't have to think twice about Kelley Dixon's offer to join the Lucasfilm series, ostensibly as her assistant even though he's worked for years as an editor.  Being a self-professed "Star Wars Nerd", Josh jumped at the chance no matter what his role would be.  As for Kelley, her plan was always to have Josh's creative editorial talents shine through during post; culminating in him sharing editing credit with her on the series finale and earning both another Emmy nomination.

OBI-WAN KENOBI takes place ten years after the events of STAR WARS: EPISODE III - REVENGE OF THE SITH (2005)?in which the Jedi were purged with Order 66 and Obi-Wan Kenobi's apprentice, Anakin Skywalker, became the Sith Lord Darth Vader?Kenobi is in hiding on the planet Tatooine, watching over Anakin's son, Luke, when he is called on a mission to rescue Anakin's daughter, Leia, after she is kidnapped by the Galactic Empire's Jedi-hunting Inquisitors in a plot to draw Kenobi out.  This leads to yet another dramatic duel between Kenobi and Vader.

KELLEY DIXON, ACE

In addition to her Emmy®-nominated work on OBI-WAN KENOBI, Kelley won an Emmy, plus three additional nominations, for her work on BREAKING BAD (2008-13), and would go on to rack up five more nominations for her subsequent work on the BREAKING BAD spinoff, BETTER CALL SAUL (2015-17).  In recent years, Kelley has expanded her resume to include feature films such as THE GOLDFINCH (2019) and BLACK PANTHER: WAKANDA FOREVER (2022).

JOSH EARL, ACE

Josh earned his Star Wars "cred" long before his turn on OBI-WAN KENOBI, having cut MARK HAMILL'S POP CULTURE QUEST (2016-17).  But it was his work on the long-running reality hit DEADLIEST CATCH (2006-2019) that put five Emmy's on Josh's trophy shelf, right next to his Star Wars action figures.  Among his many other credits, Josh has cut shows like AROUND THE WORLD IN 80 WAYS (2011) and documentaries such as SKI BUM: THE WARREN MILLER STORY (2019).

Editing OBI-WAN KENOBI

In our discussion with the OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE, we talk about:

Bringing something from Breaking Bad to Tatooine Making the jump from editor to assistant editor? Being on location in "The Volume" Synthesizing new sounds for the Sith Lord Intercutting with lightsabers The Credits

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Editors - Laura Zempel and Nat Fuller

The Emmy®-nominated BEEF editing team of Laura Zempel and Nat Fuller came into this project with plenty of experience crafting storylines featuring complicated characters and situations.  Nat kicked off his career with another well-known Netflix property, STRANGER THINGS, starting as an assistant before transitioning to full editorial duties on the Duffer Brothers supernatural juggernaut.  For Laura, her time in the editing suites of complex dramas began with assisting on DEXTER, to ultimately cutting on HBO's critically-acclaimed EUPHORIA.

Created by Korean director Lee Sung Jin (Sunny) for Netflix, BEEF stars Steven Yeun and Ali Wong as Danny Cho and Amy Lau, two strangers whose involvement in a road rage incident escalates into a prolonged feud.

LAURA ZEMPEL

In addition to her Emmy®-nominated work on BEEF, Laura's skills as an editor can be seen in EUPHORIA (2019-22), DISPATCHES FROM ELSEWHERE (2020) and ROOM 104 (2017-19).  Prior to that, she assisted on HOUSE OF CARDS (2014), DEXTER (2011-13) and IF I CAN DREAM (2010).

NAT FULLER

Nat's journey to being an Emmy®-nominated editor began with assisting duties on the features MALEFICENT (2014) and THE LAST WITCH HUNTER (2015), in addition to the debut season of STRANGER THINGS (2017).  Fuller would go on to co-edit the indie THE PEANUT BUTTER FALCON (2019) amidst taking on lead editing duties for Seasons 2-4 for STRANGER THINGS (2017-22).

Editing BEEF

In our discussion with the BEEF editing team of Laura Zempel and Nat Fuller, we talk about:

Filling two gigs with one agent Nailing the ninety's needle drops Not taking sides in the edit Sound designing drug trips Taming the tension in postproduction The Credits

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Editor - Jennifer Lame ACE, Additional Editor - Mike Fay, 1st Assistant Editor - Nick Ellsberg and 1st Assistant Film Editor - Tom Foligno

The OPPENHEIMER editing team of Jennifer Lame ACE, Mike Fay, Nick Ellsberg and Tom Foligno applied their collective storytelling talents to film technology both old and new.  While Jennifer and Mike worked to shape and refine Christopher Nolan's story into an instant classic, Nick and Tom were tasked with mastering a hybrid film and digital workflow to make the most of Nolan's brilliant 70MM IMAX footage.

Based on the 2005 biography American Prometheus by Kai Bird and Martin J. Sherwin, the film chronicles the life of American theoretical physicist and polymath J. Robert Oppenheimer. The story predominantly focuses on Oppenheimer's early studies, his direction of the Manhattan Project during World War II, and his eventual fall from grace due to his 1954 security hearing; juxtaposed with this are events surrounding Oppenheimer's relationship with Lewis Strauss, a senior member of the United States Atomic Energy Commission who sees Oppenheimer as a rival. It stars Cillian Murphy as Oppenheimer and Robert Downey Jr. as Strauss, with the remaining ensemble supporting cast including Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek and Kenneth Branagh.

JENNIFER LAME, ACE

While Jen claims that her "wheelhouse" in editorial is films that feature people talking in rooms, as her work on MANCHESTER BY THE SEA (2016) and MARRIAGE STORY (2019) both prove, you wouldn't know it by her standout work in bigger features like Christopher Nolan's TENET (2020) and BLACK PANTHER: WAKANDA FOREVER (2022).

MIKE FAY

As Jen Lame was wrapping up things on WAKANDA FOREVER, she entrusted the early assembly duties on OPPENHEIMER to Mike Fay.  Prior to OPPENHEIMER, Mike had been sharpening his skills as an assistant editor on LIFE OF PI (2012) and GHOSTBUSTERS: AFTERLIFE (2021) and as a VFX Editor on JOHN WICK: CHAPTER 3 - PARABELLUM (2019) and BULLET TRAIN (2022).

NICK ELLSBERG

Nick and Mike Fay had more than a passing familiarity prior to OPPENHEIMER.  Like Mike, Nick worked on BULLET TRAIN (2022), GHOSTBUSTERS: AFTERLIFE (2021), and JOHN WICK: CHAPTER 3 - PARABELLUM as an assistant editor.

TOM FOLIGNO

A veteran of the Marty Scorsese film school, having worked as an assistant on CASINO (1995), BRINGING OUT THE DEAD (1999), GANGS OF NEW YORK (2002) and THE AVIATOR (2004), Tom was able to return to his film editing roots and dust off his splicer for his role in the film cutting room on OPPENHEIMER.

Editing OPPENHEIMER

In our talk with the OPPENHEIMER editing team, we discuss...

The beauty of awkward people talking in rooms Keeping up the pace on a three-hour biopic Whistling past the biggest scene in the movie because you already know it will be great Bringing film workflows back to life, bigger than ever Loving Chris Nolan's "all business' approach in the cutting room The Credits

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Editor - Nick Houy ACE, VFX Editor - Matt Garner and Apprentice Editor - Maya Rivera

The BARBIE editing team of Nick Houy ACE, Matt Garner and Maya Rivera seemed to have as much fun in the cutting room as what audiences saw on the big screen.  Despite this being the first time the three worked together, they described the process of working on BARBIE to be an open, collaborative "family" atmosphere where both personal time and creative contributions were valued.

Stereotypical "Barbie" (Margot Robbie) and a wide range of fellow Barbies all reside in Barbieland, a matriarchal society where all women are self-confident, self-sufficient, and successful. While their Ken counterparts spend their days engaging in recreational activities at the beach, the Barbies hold important positions as doctors, lawyers, and politicians.  Beach "Ken" (Ryan Gosling) is only happy when he is with Barbie and seeks a closer relationship, but Barbie rebuffs him in favor of independence and female friendships.  Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbieland.  However, when they get a chance to go to the "real" world, they soon discover the joys and perils of living among humans.

NICK HOUY, ACE

NYC-based Nick Houy is now on his third film with actor/writer/director Greta Gerwig.  The two previously teamed up for LADY BIRD (2017) and LITTLE WOMEN (2019).  In addition to his work with Gerwig, Nick has also cut for actor/director Jonah Hill on MID90'S (2018) and STUTZ (2022).  In 2017, Nick won an Emmy co-editing the first episode of the mini-series THE NIGHT OF alongside editor Jay Cassidy.

MATT GARNER

Coming into his work on BARBIE, Matt brought with him the enviable experience of having worked on three films for director Martin Scorsese; HUGO (2011), THE WOLF OF WALL STREET (2013) and THE IRISHMAN (2019).

MAYA RIVERA

Apprentice editor Maya Rivera's editorial career had hardly begun and yet she was a valued contributor to the biggest film of 2023.  Much of that can be attributed to her initiative in walking up to editor Nick Houy at a screening for LITTLE WOMEN and saying, "I want to work with you"!

Editing BARBIE

In our talk with the BARBIE editing team, we discuss...

First reactions to a film nobody thought could happen Building a better Barbieland Barbie vs The Irishman Whose baby is this? Making things up (music?  entire scenes?) as you go along The Credits

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Editors - Richie Edelson and Sarah Zeitlin

The ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin walked similar but separate paths in the early stages of their careers.  Each cut their editorial teeth in the world of unscripted and both took a turn at the same mockumentary sitcom format that they would employ in the show that finally united them as co-editors.

Abbott Elementary is a mockumentary sitcom created by Quinta Brunson for ABC. It stars Brunson as Janine Teagues, an optimistic second-grade teacher at the poorly funded Willard R. Abbott Elementary School; a predominantly Black Philadelphia public school where a documentary crew is recording the lives of teachers working in underfunded, mismanaged schools.  Although conditions at the school are harsh and most teachers don't last more than two years, Teagues is determined to help her students despite the circumstances.

RICHIE EDELSON

Richie's early career path found him in the cutting rooms of popular unscripted series such as PROJECT RUNWAY (2008), REAL CHANCE OF LOVE (2008-09) and ROB DYRDEK'S FANTASY FACTORY (2009).  Soon after he would get to flex his comedy chops on sitcoms like PARKS AND RECREATION (2012-13), BLACK-ISH (2014-17) and SUPERSTORE (2017-21).  It would be Edelson at the helm of the Avid when it came time to develop the pilot for the soon-to-be hit series, ABBOTT ELEMENTARY (2021-23).

SARAH ZEITLIN

Like Richie, Sarah has also logged a few miles on the road of reality television; assisting on HELL'S KITCHEN (2008), plus assisting and editing on THE MILLIONAIRE MATCHMAKER (2008-11).  But it would be assisting on the mockumentary hits MODERN FAMILY (2009-10) and PARKS AND RECREATION (2012) that would be a sign of things to come for her role as editor on ABBOTT ELEMENTARY (2022-23).  Sarah's work as an editor can also be seen in dramas like HOMELAND (2017-20) and MAYOR OF KINGSTOWN (2021).

Editing Abbott Elementary

In our discussion with the ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin, we talk about:

The hidden benefits of commercial breaks The anatomy of a mockumentary sitcom The truth of building a character through comedy The sound of silence or just a bad speaker? Lovely parting gifts The Credits

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Editor - Eddie Hamilton ACE

MISSION: IMPOSSIBLE - DEAD RECKONING PART 1 editor Eddie Hamilton ACE has been immersed in the TCEU (Tom Cruise Extended Universe) since 2015 when Eddie took the editorial helm of MISSION IMPOSSIBLE: ROGUE NATION.  And with the exception of a quick return to his roots with director Matthew Vaughn for KINGSMAN: THE GOLDEN CIRCLE (2017), Eddie has spent all his subsequent time working on MISSION: IMPOSSIBLE - FALLOUT (2018), TOP GUN: MAVERICK (2022) and the upcoming MISSION: IMPOSSIBLE - DEAD RECKONING PARTS 2 (2024).  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today.

In this latest installment of the now 7-film long action franchise, Ethan Hunt and the IMF team must track down a terrifying new weapon that threatens all of humanity if it falls into the wrong hands. With control of the future and the fate of the world at stake, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than the mission -- not even the lives of those he cares about most.

Editing Mission: Impossible - Dead Reckoning Part 1

In our discussion with editor Eddie Hamilton ACE, we talk about:

Cutting two films at one time Action first, dialogue last "Have 160TB hard drive, will travel" The verbal choreography of an exposition scene Edgar Wright's keen ear for storytelling The Credits

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Hear Eddie talk about his work on Mission: Impossible - Fallout

Take a guided tour with Eddie on his Avid timeline from Mission: Impossible - Fallout

Listen to Eddie's podcast on TOP GUN: MAVERICK

Check out Eddie Hamilton's Timeline Tour for TOP GUN: MAVERICK

See which model of Avid Media Composer is right for you

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Editor - Nena Erb, ACE

JOY RIDE wasn't the film Emmy-winning editor Nena Erb ACE was looking for when she asked her agent to see what was out there, but Nena WAS the editor that JOY RIDE was looking for.  Fortunately, they found each other, because together they created a film that broke boundaries, not to mention the mold, when it comes to how Asian women are portrayed in comedy features.  After building a career in TV on reality shows like REAL HOUSEWIVES OF ORANGE COUNTY and DANCING WITH THE STARS, as well as comedy hits like CRAZY EX-GIRLFRIEND and INSECURE, Nena wanted a drama for her first big feature project, and within the brash bawdiness of JOY RIDE, Nena found the drama she was seeking.

JOY RIDE stars Ashley Park as upwardly mobile career woman, Audrey Sullivan.  When Audrey's business trip to Asia goes sideways, she enlists the help of Lolo (Sherry Cola), her childhood best friend, Kat (Stephanie Hsu), a college friend, and Deadeye (Sabrina Wu), Lolo's eccentric cousin. Their epic, no-holds-barred experience becomes a journey of bonding, friendship, belonging and wild debauchery that reveals the universal truth of what it means to know and love who you are.

Editing Joy Ride

In our discussion with JOY RIDE editor Nena Erb ACE, we talk about:

Finding what you're looking for in the place you weren't looking Dialing up the "dirty" all the way to the drama The post process for first-time directors The subtle art of sub-titles in comedy Sound design for assistants The Credits

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Hear Nena discuss her Emmy-winning work on INSECURE

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Editors - Mike McCusker ACE, Andrew Buckland ACE and Dirk Westervelt ACE

The INDIANA JONES AND THE DIAL OF DESTINY editing team of McCusker, Buckland and Westervelt have been amping up the action in the cutting room for a while now.  First joining up for James Mangold's LOGAN (2017); the team would collaborate once more on Mangold's FORD V FERRARI (2019) before finding themselves at the editorial helm of the fifth, and most likely final, installment of the Indiana Jones franchise.

INDANA JONES AND THE DIAL OF DESTINY sees daredevil archaeologist Indiana Jones race against time to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, he soon finds himself squaring off against Jürgen Voller, a former Nazi who works for NASA.

MIKE McCUSKER, ACE

Aside from his Oscar®-winning turn in Mangold's FORD v FERRARI (2019), Mike McCusker is known for a wide variety of films including; WALK THE LINE (2005), AUSTRALIA (2008), THE AMAZING SPIDER-MAN (2012) and THE GREATEST SHOWMAN (2017)

ANDREW BUCKLAND, ACE

Also an Oscar®-winner for FORD v FERRARI (2019), Andrew "Don't call me Andy" Buckland is a frequent editorial collaborator with Mike McCusker on films like; 3:10 TO YUMA (2007), THE WOLVERINE (2013) and THE GIRL ON THE TRAIN (2016).

DIRK WESTERVELT, ACE

When he's not cutting for James Mangold on projects such as; LOGAN (2017) and FORD v FERRARI (2019), Dirk's editing chops can be seen in  DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019).

Editing INDIANA JONES AND THE DIAL OF DESTINY

In our discussion with Mike, Andrew and Dirk, we talk about:

Making the most of motifs To Wilhelm or not to Wilhelm Dealing with dialogue during de-aging A touch of 70's cinema for Indy Andrew Buckland - Man of a Thousand Voices The Credits

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Learn about Avid's new Media Composer for Students program

See Dirk present the Avid timelines from DIAL OF DESTINY

Listen to Mike and Andrew talk about their work on FORD v FERRARI

Hear Dirk discuss cutting ZOMBIELAND: DOUBLE TAP

Watch Dirk present a behind the scenes tour of DEADPOOL 2

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Editor - Randy Trager, ACE

NIMONA editor, Randy Trager, ACE makes a return trip to The Rough Cut to share the inside story of how his latest film went from dead on the cutting room floor to live and loud on Netflix.  Beginning its development life under the banner of Blue Sky studios and its parent company 21st Century Fox, NIMONA and the rest of the Blue Sky team were moved under Disney during their acquisition of Fox.  The film's rocky development road seemingly ended in April 2021 when Disney shuttered Blue Sky.  With her relentless, never-say-die attitude, NIMONA found new life again with Annapurna Pictures and Netflix.

NIMONA tells the tale of Ballister Boldheart (Riz Ahmed), a knight in a futuristic medieval world, who is framed for a crime he didn't commit.  The only one who can help him prove his innocence?  Nimona (Chloë Grace Moretz), a mischievous teen with a taste for mayhem - who also happens to be a shapeshifting creature Ballister has been trained to destroy. But with the entire kingdom out to get him, Nimona's the best (and technically the only) sidekick Ballister can hope for.  And as the lines between heroes, villains, and monsters start to blur, the two of them set out to wreak serious havoc - for Ballister to clear his name once and for all, and for Nimona to...just wreak serious havoc.

RANDY TRAGER, ACE

Randy began his editorial journey as an assistant editor on features such as NURSE BETTY (2000), WHAT WOMEN WANT (2000) and MEN IN BLACK II (2002).  He then made the move to working in feature animation as an assistant on ROBOTS (2005) until he got bumped up to the editor's chair on RIO (2011), THE PEANUTS MOVIE (2015) and SPIES IN DISGUISE (2019)

Editing Nimona

In our discussion with NIMONA editor Randy Trager ACE, we talk about:

How to pack and unpack an animated feature Keeping the tone light while keeping it real The virtual future of animation studios Voice over and over and over again Breaking the law with needle drops The Credits

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Hear Randy discuss his work on Blue Sky's SPIES IN DISGUISE

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Editors - Jason Ballantine ACE and Paul Machliss ACE

While THE FLASH editors Jason Ballantine ACE and Paul Machliss ACE* both hail from Australia, this latest entry in the DCEU would be their first time meeting one another.  Both editors have been advancing their careers away from their homeland for quite some time.  Jason has worked in LA for the past ten years, while Paul has been in London for the last twenty.  The director who would be responsible for bringing these two together is Andy Muschietti, Jason's director for IT (2017) and IT CHAPTER TWO (2019).  The two editors split editing duties pretty much down the middle for THE FLASH, each taking five of the film's ten reels.  One thing that did separate them for much of the film's development was geography.  While Jason was holding down the fort at Warner Brothers Studios in LA, Paul was on location in the UK for seven months, assembling main unit footage with Muschietti.  Following production, Machliss would join Jason in LA for six additional months of editing.  And it would be six more months before Ballantine would put the final touches on the highly anticipated "metahuman" movie.

Based on the DC Comics character of the same name, THE FLASH is the thirteenth installment in the DC Extended Universe (DCEU). The film is directed by Andy Muschietti from a screenplay by Christina Hodson and stars Ezra Miller as Barry Allen (The Flash) alongside Ben Affleck, Michael Keaton, Sasha Calle, Michael Shannon, Ron Livingston and Maribel Verdú.  In the film, Barry travels back in time to prevent his mother's death, which traps him in an alternate reality without metahumans. Barry enlists the help of; his younger self, an older Batman and the Kryptonian castaway Supergirl in order to save this world from General Zod and return to his universe.

JASON BALLANTINE ACE

Jason Ballantine began his editing career in the horror genre (one which he would return to often) with the Australian thriller WOLF CREEK (2005).  From there he would edit other fright flicks, such as PROM NIGHT (2008), CRUSH (2009) and NEEDLE (2010).  But it would be his work on director Andy Muschietti's adaptation of Stephen King's IT (2017) and IT: CHAPTER TWO (2019) that would put an exclamation point on Jason's work in the horror medium.  Jason has also previously teamed up with directors Baz Luhrmann and Matthew Vaughn for THE GREAT GATSBY (2013) and THE KING'S MAN (2021) respectively.

PAUL MACHLISS ACE

While known most prominently for his work with Edgar Wright; SPACED (1999-2001), SCOTT PILGRIM VS THE WORLD (2010), THE WORLD'S END (2013), BABY DRIVER (2017) and LAST NIGHT IN SOHO (2021), Paul also edited; the pilot episode of FLEABAG (2016), eighteen episodes of THE IT CROWD (2006-2008) and films such as THE KID WHO WOULD BE KING (2019) and THE GENTLEMEN (2019).  For his work on BABY DRIVER, Paul was nominated for an Oscar® alongside co-editor John Amos.

* [Publisher's Note]

The guests wish to express their regret and apologies for using he/him pronouns in referencing Ezra Miller (they/them). No disrespect was intended toward Ezra or anyone else.  This oversight should be attributed to all of the following conditions: jet lag, old age, and recording this interview way too early on a Sunday morning.  Thanks for your understanding.

Editing The Flash

In our discussion with THE FLASH editors, Jason Ballantine ACE and Paul Machliss ACE, we talk about:

Turning up the volume capture way past eleven Taking techniques from Baby Driver to a Baby Shower Sounds that shouldn't be heard, but still be felt Editors having The Knack for needle drops...until they don't Scoring points off Zack Snyder and Danny Elfman The Credits

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Hear Jason Ballantine talk about IT Chapter 2 and The Guilty

Listen to Paul Machliss talk about Baby Driver and Last Night in Soho

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Editors - Franky Guttman and Ali Greer ACE

While BARRY editors Franky Guttman and Ali Greer ACE worked independently on their own episodes of the series (the finale being the lone exception), the pair worked closely with one another and Bill Hader to review and refine each episode.  This was a process the two not only enjoyed, but credit for helping the show to maintain its high quality throughout.

BARRY follows Barry Berkman, a U.S. Marine and Afghanistan veteran from Cleveland, who works as a hitman and wrestles with loneliness, depression, and guilt caused by his lifestyle as well as his actions during his service. He travels to Los Angeles to kill a target and finds a new sense of purpose when he follows his target into an acting class. After joining the class and making plans to become an actor, using his newfound passion as an outlet for his anxiety, he struggles to distance himself from his old life and keep his past a secret from new friends and colleagues.

FRANKY GUTTMAN

Having joined the series in Season One as an assistant editor, working closely with editor Jeff Buchanan, Guttman laid his cards on the table with showrunners Alec Berg and Bill Hader after Season Two, declaring his desire to take on lead editorial duties for the show.  The gambit not only worked, but resulted in an ACE Eddie and HPA award nomination for his work on that season's sixth episode (710N).  In addition to his work on BARRY, Franky is also known for Swarm (2023) and Kidding (2018).

ALI GREER ACE

Aside from her Emmy® win in 2021 for her work on BARRY in Season Three, Ali was twice nominated for an ACE Eddie award for her work on the series, Portlandia.  Ali also received an Eddie nom for the same episode of BARRY which brought her the Emmy®.  In fact, Ali's editorial career is highlighted by several standout series in the comedy genre.  Ali's time as an assistant editor was punctuated with stints on Kroll Show (2015) as well as the aforementioned Portlandia (2015).  From there she went on to edit such shows as Dream Corp LLC (2018), Black Monday (2020), Schmigadoon! (2021) and Hacks (2021), for which she received her first Emmy® nomination.

Editing Barry

In our discussion with the BARRY editing team of Franky Guttman and Ali Greer ACE, we talk about:

Giving the audience "2+2" instead of giving them "4" Being an editor at night and the "king security guard" by day Bringing an improv mentality into the cutting room The incomparable sweatiness of Fred Armisen How to make sure both editors tell the same story The Credits

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Editors - Melissa McCoy, ACE and A.J. Catoline, ACE

Ted Lasso editors, Melissa McCoy and A.J. Catoline re-join this episode of The Rough Cut podcast to tell us about what goes on in the cutting room to make all the magic from the locker room.

Ted Lasso is an AppleTV+ series developed by Jason Sudeikis, Bill Lawrence, Joe Kelly and Brendan Hunt, based on a character of the same name that Sudeikis first portrayed in a series of promos for NBC Sports' coverage of the The English Premier League. The premise is that American college football coach Ted Lasso is recruited to coach an English Premier League team, AFC Richmond, despite having no experience in English football.

MELISSA McCOY ACE

Michigan native, Melissa McCoy is an editor and producer, known for Ted Lasso (2020), Rush Hour (2016) and Whiskey Cavalier (2019).  Melissa won an ACE Eddie for her work on Ted Lasso in 2021.

A.J. CATOLINE, ACE

Emmy-winning editor, A.J. Catoline is a graduate of NYU's Tisch School of the Arts and USC's Master of Professional Writing Program, and a Board Member of the Motion Picture Editors Guild, Local 700 IATSE. He is a picture editor working in television and documentary film in Los Angeles. He attended the American School in Paris and grew up in Falmouth, Cape Cod, Massachusetts.

Editing Ted Lasso - Season 3

In our discussion with Ted Lasso editors, Melissa and A.J., we talk about:

Not doing the notes, just making them disappear VFX for football teams that don't have any balls The way Sudeikis lays his cards out on the table Making a mega montage One last look back on Lasso The Credits

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Editors - Timothy A. Good, ACE and Emily Mendez

THE LAST OF US editors Tim Good, ACE and Emily Mendez are the perfect example of mentoring in action.  Paying forward the mentoring he received from editor Norman Buckley, ACE, Tim has always looked for ways he could elevate assistants into the first chair.  Building on her work with Tim on THE UMBRELLA ACADEMY, Emily was more than ready to grab the editorial reins when the time came for THE LAST OF US.

THE LAST OF US is set in 2023, twenty years into a pandemic caused by a mass fungal infection which causes its hosts to transform into zombie-like creatures and collapses society.  The series follows Joel (Pedro Pascal), a smuggler tasked with escorting an immune teenager named Ellie (Bella Ramsey) across a post-apocalyptic United States.  The creative force behind the video game on which the series is based is Neil Druckmann.  One of the game?s legion of fans was writer / director Craig Mazin (Chernobyl). The two would go on to successfully pitch HBO on the concept of adapting the game into a series.

TIMOTHY GOOD ACE

In addition to THE LAST OF US, Tim is known as both an editor and producer for his work on such shows as The Umbrella Academy (2019) and Fringe (2008).

EMILY MENDEZ

Emily Mendez is known for The Umbrella Academy (2019), The Resident (2018) and Light as a Feather (2018).

Editing The Last of Us

In our discussion with The Last of Us editors, Tim and Emily, we talk about:

How to SUCCESSFULLY adapt a video game into a series Sound design...the assistant's advantage When 1 episode + 1 episode = 1 pilot The benefits of bottle episodes Meaningful mentoring The Credits

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Editors - Craig Hayes, Varun Viswanath ACE, Chris Chandler and Trevor Penna

The Blindspotting editing team of Craig Hayes, Varun Viswanath ACE, Chris Chandler and Trevor Penna collectively crafted a show unique in both its structure as well as its visual style.  On the audio side, the show is underscored by a soundtrack that pays homage to the Bay Area roots of Blindspotting creators, Rafael Casal and Daveed Diggs.  Hayes and Viswanath took on the task of cutting Season One, while Chandler and Penna split editorial duties for the sophomore effort.

Taking place six months after the events of the film Blindspotting, the tv series begins with Miles, Ashley's partner of 12 years and father of their son, suddenly being incarcerated.  The situation leaves Ashley to navigate a chaotic and humorous existential crisis when she and her son Sean are forced to move in with Miles' mother and half-sister.

CRAIG HAYES

Craig Hayes has cemented a career as a spirited and versatile editor. He studied film at Ithaca College in New York, which inspired Craig to hone his craft and move forward in his career.  From there, Craig worked as associate editor on Gus Van Sant?s To Die For and M. Night Shyamalan?s Lady in the Water, and as assistant editor for Steven Spielberg?s War of the Worlds and Quentin Tarantino?s Django Unchained.  Craig was also first assistant editor for the award-winning HBO series John Adams.  Craig has recently worked on the critically acclaimed The Hate U Give, directed by George Tillman Jr. as well as being nominated for a best editing award for HBO?s Righteous Gemstones.

VARUN VISWANATH ACE

Varun is a Film & TV Editor based in Los Angeles, CA. He is a member of the American Cinema Editors and the Motion Pictures Editors Guild, and has an MFA in Film Editing from The American Film Institute Conservatory. His work on What We Do In The Shadows was nominated for Best Edited Comedy Series at the 2021 ACE Eddie awards.

CHRIS CHANDLER

Blindspotting is Chris?s first full series as an editor. Prior to this series, he was an assistant and co-editor on FX?s Dave, as well as HBO?s Curb Your Enthusiasm, which he refers to as his ?master class training in comedy and storytelling.? He received an ACE Eddie nomination for his work co-editing the "Curb" Season 11 finale, ?The Mormon Advantage,? alongside one of his mentors, Roger Nygard ACE.

TREVOR PENNA

Trevor began his postproduction career assisting editor Tim Roche on shows such as Curb Your Enthusiasm and WandaVision. Following those jobs he then took on lead editorial duties for the Apple TV+ series, Mythic Quest.

Editing Blindspotting

In our discussion with the Blindspotting editing team we talk about:

Making magic out of monologues Musical misunderstandings with remote editorial Fluidmorph and Animatte...it's all Fluidmorph and Animatte Nailing the needle drops to honor Oakland artists Cutting choreography The Credits

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Meet the editor of the film Blindspotting, Gabe Fleming

Hear Trevor Penna talk about his work on Mythic Quest

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Editor - Greg O'Bryant

EXTRAPOLATIONS editor, Greg O'Bryant has once again teamed up with writer/director Scott Z. Burns, this time to take on the challenge of creating an entertaining, educational and hopefully motivational series about the future effects of climate change.  Delivered as an anthology series, one of the more daunting tasks for the team would be managing the often dramatic shifts in tone, as well as the delicate balance between drama and, on occasion, comedy.

Taking place in the not-too-distant future, but over the span of thirty-three years, EXTRAPOLATIONS shows how the effects of climate change have become embedded into people's everyday lives; through eight interwoven stories that explore the intimate, life-changing choices that must be made when the planet is changing faster than the population.

GREG O'BRYANT

Greg first began his partnership with Scott Z. Burns on the latter's political drama, THE REPORT (2019).  Greg would also edit an episode of the series, THE LOUDEST VOICE (2019) that Burns helmed.  In addition to his work with Scott Z. Burns, Greg is also a frequent collaborator with show runner, Nick Antosca.  Their partnership first began on CHANNEL ZERO, a SyFy Channel anthology series based on the popular Internet "Creepypastas" Candle Cove, The No-End House and Butcher's Block.  Subsequent projects with Antosca would include Hulu's original series, THE ACT, as well as the Netflix series, BRAND NEW CHERRY FLAVOR.  Greg also edited the tv series, THE GIRLFRIEND EXPERIENCE, adapted from the film by Steven Soderbergh...who directed CONTAGION...written by Scott Z. Burns.

Editing Extrapolations

In our discussion with EXTRAPOLATIONS editor, Greg O'Bryant, we talk about:

Not crossing the streams of comedy and drama The only geography that matters Why you need sixty mice Entertaining and educating for the sake of motivating Learning to love VFX, while still bemoaning blue screen The Credits

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Hear Greg discuss his work on the Netflix series, BRAND NEW CHERRY FLAVOR

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Editors - Fred Raskin ACE and Greg D'Auria

GUARDIANS OF THE GALAXY: VOL. 3 editors Fred Raskin and Greg D'Auria find themselves in familiar territory; collaborating on a James Gunn project.  But their twenty-year plus relationship dates back much further than their work with Gunn.  The two first collaborated on Tarantino's KILL BILL: VOL. 1 (2003).

In James Gunn's final installment of the "Guardians" trilogy, Peter Quill, still reeling from the loss of Gamora, must rally his team to defend the universe and protect one of their own. If the mission is not completely successful, it could possibly lead to the end of the Guardians as we know them.

FRED RASKIN ACE

Fred has worked with Gunn on all three Guardians of the Galaxy films, as well as the tv series PEACEMAKER and Peacemaker's origin film, THE SUICIDE SQUAD (2021).  In addition to his work with Gunn, another prominent director that Fred is known to cut for is Quentin Tarantino.  Fred handled the editorial duties for DJANGO UNCHAINED (2012), THE HATEFUL EIGHT (2015) and, most recently, ONCE UPON A TIME IN HOLLYWOOD (2019).

GREG D'AURIA

Editor Greg D'Auria has crossed paths with Fred Raskin on more than one occasion in their careers.  Also a veteran of the "Quentin Tarantino Extended Universe", Greg has worked as assistant and editor on films such as KILL BILL: VOL 1 (2003) and DJANGO UNCHAINED (2012).  D'Auria also lent his editorial talents to films like FAST & FURIOUS 6 (2013), F9: THE FAST SAGA (2021) and the GUARDIANS OF THE GALAXY HOLIDAY SPECIAL (2022).

Editing GUARDIANS OF THE GALAXY: VOL. 3

In our discussion with Guardians of the Galaxy Vol 3 editors, Fred and Greg, we talk about:

VFX being the tail that wags the...raccoon? Cutting a film without reading the script Bowling for sound effects The family business of temp tracks Final thoughts on the Guardians trilogy The Credits

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Hear Fred and Greg talk about their work on Gunn's PEACEMAKER

Listen to Fred and editor Chris Wagner discuss Gunn's THE SUICIDE SQUAD

Editor Fred Raskin talks about cutting Quentin Tarantino's ONCE UPON A TIME IN HOLLYWOOD

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Editors - Glenn Garland ACE, Bob Ducsay ACE, Paul Swain, Shaheed Qaasim

The POKER FACE editing team of Garland, Ducsay, Qaasim and Swain might sound like a formidable name for a law firm, but their real talents lie in making a great "howcatchem" show with noted director and series creator, Rian Johnson.

POKER FACE is a murder mystery series stylized as a character-driven, case-of-the-week mystery, with each episode adapting the inverted detective story format popularized by COLUMBO.  The series centers around Charlie Cale, a casino worker with an innate ability to detect lies, traveling across the United States on the run from a casino boss following a suspicious death. Along the way, she encounters colorful characters and solves homicides in a variety of settings.

GLENN GARLAND, ACE

Accomplished editor Glenn Garland, ACE has over three decades of experience plying his skills on fan favorite tv series such as; STAN AGAINST EVIL, PREACHER and THE VAMPIRE DIARIES, as well as feature films like; HALLOWEEN (2007), KING OF CALIFORNIA and the infamously unreleased THE FANTASTIC FOUR (1994).

BOB DUCSAY, ACE

Editor Bob Ducsay ACE has forged a tight collaborative bond with director Rian Johnson, going back to their first film, LOOPER (2012).  And although POKER FACE is only their first tv series together, the quality of their feature work has already been recognized by audiences, critics and the industry at large.  The pair were recently honored with the inaugural Variety Creative Collaborators Award at the 10th annual Middleburg Film Festival.

PAUL SWAIN

Rock drummer turned editor Paul Swain has brought his natural sense of rhythm to such projects as; THE UNICORN, THE EX-PM and THE MOODYS, for which he won an Australian Screen Editors ASE award in 2014.

SHAHEED QAASIM

Editor by day, swing dancer by night, Shaheed Qaasim's storytelling chops can be seen in shows like; MODERN FAMILY, THE WALKING DEAD: WORLD BEYOND and FUTURE MAN.

Editing POKER FACE

In our discussion with the POKER FACE editing team, we talk about:

Paying homage to 70's procedurals Going from swing dancing to swings in tone Reinventing the audio and visual languages throughout Teaching your audience how to watch the show Holding off on temp score until you really need it The Credits

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Hear Bob's interviews about his work on Rian Johnson's; KNIVES OUT, GLASS ONION and THE LAST JEDI.

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Editor - Kristi Shimek

INVITATION TO A MURDER editor Kristi Shimek, like the protagonist of her new film, is not afraid of a challenge when it comes to figuring out how to piece a complex story together.  Having already amassed a credit list that is both long and varied, Kristi is equally comfortable cutting a classic whodunnit as she is with a rom-com or a grizzly horror flick.  Part of that comfort may come from feeling at home, quite literally and figuratively, with the her frequent director and full-time husband, Stephen Shimek.

Set in 1934, INVITATION TO A MURDER tells the tale of how a reclusive billionaire invites amateur sleuth Miranda Green and five other, seemingly random, strangers to his remote island estate in the south of England.  When one of the guest turns up dead, Miranda must get to the bottom of the malicious plot behind the gathering.  As the weekend progresses, the clues about why they have been invited begin to unfold along with a sinister mystery.

Editing INVITATION TO A MURDER

In our discussion with INVITATION TO A MURDER editor Kristi Shimek, we talk about:

The present and possible future of remote editorial Making room for personal time, even when you're married to the director Leading the audience through a mystery with and without the protagonist Developing the characters without delaying the dynamics What Kristi wishes they would teach in film school The Credits

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Editor - Ryan Folsey

RENFIELD editor Ryan Folsey never went to summer camp and never went to film school.  His formative years were spent on the lot at Universal Studios and on location with his father, editor George Folsey Jr. (ANIMAL HOUSE, THE BLUES BROTHERS, COMING TO AMERICA, MICHAEL JACKSON'S THRILLER).  It was there that Ryan learned and fell in love with the craft of editing.  In his professional life, Ryan has applied his craft to films such as; CABIN FEVER (2002), THE LEGO NINJAGO MOVIE (2017), SCOOB! (2020) and THE ADAMS FAMILY 2 (2021).

RENFIELD was directed by Chris McKay from a screenplay by Ryan Ridley, and based on an original idea by Robert Kirkman featuring characters from Bram Stoker's 1897 novel Dracula. The film stars Nicholas Hoult as Count Dracula's lackey R. M. Renfield, who finds a new lease on life in modern-day New Orleans when he falls in love with Rebecca Quincy (Awkwafina), a traffic cop, and decides to finally stand up to his creator in hopes of finally breaking free of his servitude. 

Editing RENFIELD

In our discussion with RENFIELD editor Ryan Folsey, we talk about:

Finding the right balance between comedy and horror To explain, or not to explain, the mythology of Dracula Speed ramping up the action Nic Cage and more Nic Cage Getting tossed into a trim bin by the Blues Brothers The Credits

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Editor, William Goldenberg ACE

AIR editor William Goldenberg ACE ("Billy" to his friends) re-joins The Rough Cut to discuss his new film with director Ben Affleck.  A highly accomplished editor, Billy has been nominated for an Oscar® a total of five times for THE INSIDER, SEABISCUIT, THE IMITATION GAME, ZERO DARK THIRTY and ARGO.  The latter two nominations came on the same year, with Billy ultimately winning for ARGO, directed by Ben Affleck.  Goldenberg and Affleck also worked together on LIVE BY NIGHT and GONE BABY GONE.

Written by Alex Convery and directed by Ben Affleck, AIR tells the story of Nike executive Sonny Vaccaro (Matt Damon) and his quest to establish Nike in the world of basketball by signing a young phenom named Michael Jordan.  The only way Vacarro can get any attention from a reluctant Jordan is to win over Michael's mother, Deloris (Viola Davis).  The film also stars Chris Tucker, Jason Bateman, Chris Messina, Marlon Wayans and Ben Affleck as Nike head honcho, Phil Knight.

Editing AIR

In our discussion with AIR editor William Goldenberg ACE, we talk about:

Working, or not, with Michael Jordan Cutting in the office when the office is on set Needle drops, needle drops and more needle drops Scoring a film without a composer Creating tension and interest when the audience already knows the outcome A dozen roses from Richard Pryor The Credits

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Hear Billy's interview on cutting NEWS OF THE WORLD

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Dungeons & Dragons: Honor Among Thieves - Editor Dan Lebental ACE

DUNGEONS & DRAGONS: HONOR AMONG THIEVES editor, Dan Lebental ACE makes his fourth appearance on The Rough Cut.  Dan was on previously to discuss SPIDER-MAN: FAR FROM HOME (2019), ELF (2003) and BAD BOYS FOR LIFE (2020).

Based on Hasbro's beloved role playing game, Dan's new film is about a charming thief and a band of unlikely adventurers who embark on an epic quest to retrieve a long lost relic, but their charming adventure goes dangerously awry when they run afoul of the wrong people.  The film is written and directed by John Francis Daley and Jonathan Goldstein, with an additional writing credit to Michael Gilio.

Editing Dungeons & Dragons: Honor Among Thieves

In our discussion with editor Dan Lebental ACE, we talk about:

Discovering the best script in decades Working with writer/director teams Bringing sound mixing and editing closer to editorial Balancing character development against pacing Magic in the editing room The Credits

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Listen to Dan's interview about Spider-Man: Homecoming

Dan Lebental ACE discusses cutting Bad Boys For Life

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John Wick: Chapter 4 - Editor Nathan Orloff, Asst. and Additional Editor Nicholas Lundgren

JOHN WICK: CHAPTER 4 editor, Nathan Orloff and assistant and additional editor, Nicholas Lundgren first joined forces in their early days at JJ Abrams' Bad Robot studio, with their initial collaborative effort being director Morgan Dameron's DIFFERENT FLOWERS (2017).  For director Chad Stahelski's latest installment of the chronicles of the reluctant hit man, Nathan and Nicholas are together once again, this time with Nicholas earning an Additional Editor credit.

With the price on his head ever increasing, JOHN WICK: CHAPTER 4 tells the tale of the legendary hit man as he takes his fight against the High Table global and seeks out the most powerful players in the underworld, from New York to Paris to Japan to Berlin.

NATHAN ORLOFF

Nathan Orloff is known for his editing on TULLY (2018), PLAN B (2021) and GHOSTBUSTERS: AFTERLIFE (2021).

NICHOLAS LUNDGREN

In addition to his work on JOHN WICK: CHAPTER 4, Nicholas has assisted on films such as; OVERLORD (2018), PET SEMATARY (2019) and WEST SIDE STORY (2021).

Editing John Wick: Chapter 4

In our discussion with JOHN WICK: CHAPTER 4 editor Nathan Orloff and asst./addt'l editor Nicholas Lundgren, we talk about:

Finding an editor who doesn't do action movies for your big action movie Building bridges at Bad Robot Working "wide" to create comedy amidst the chaos Buster Keaton, action hero The beauty of vertical monitor, script-view, scene bins The Credits

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See Nathan Orloff's guided tour of his John Wick: Chapter 4 Media Composer timelines

Hear Nathan Orloff discuss cutting Ghostbusters: Afterlife

Editor Evan Schiff on cutting John Wick: Chapter 3 - Parabellum

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Editors - Laura Jennings and Adam Gerstel

Ant-Man and The Wasp: Quantumania editors Laura Jennings and Adam Gerstel jumped in with both feet when director Peyton Reed suggested that he wanted to have a "unified" cutting room unlike any Marvel movie that had come before.  The result?  A director's cut driven by two editors, one Avid, a pair of dueling Bluetooth keyboards, and no regrets!

In Ant-Man and The Wasp: Quantumania, which officially kicks off phase 5 of the Marvel Cinematic Universe, Super-Hero partners Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly) return to continue their adventures as Ant-Man and The Wasp. Together, with Hope?s parents Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), the family finds themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought was possible. Jonathan Majors joins the adventure as Kang.

LAURA JENNINGS

Although she's joining the Marvel family for the first time, Laura is no amateur when it comes to VFX heavy features, having previously edited films such as MALEFICENT: MISTRESS OF EVIL and EDGE OF TOMORROW (aka LIVE DIE REPEAT).

ADAM GERSTEL

Although this is also Adam's first tour of duty in the MCU, he's no stranger to the "StageCraft" virtual set technology used in this movie.  Adam worked with similar models when cutting THE LION KING and THE MANDALORIAN: SEASON TWO.

Editing Ant-Man and The Wasp: Quantumania

In our discussion with Ant-Man and The Wasp: Quantumania editors Laura Jennings and Adam Gerstel, we talk about:

Tandem cutting with Bluetooth keyboards Teaching "twelve year-olds" about KEM rolls What to do when they knock five months off your schedule When your character has a giant head, every shot is a close-up Location scouting with VR headsets The Credits

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Hear editor Laura Jennings discuss cutting Maleficent: Mistress of Evil

Listen to editor Adam Gerstel talk about his work on The Lion King and The Mandalorian

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Editors - Yvette M. Amirian, ACE and Matt Friedman, ACE

When it comes to learning editing in film school, who better to learn from than ACE editors?  When they aren't in the cutting rooms themselves, editors Yvette M. Amirian, ACE and Matt Friedman, ACE are in the classrooms of two of the most prestigious film schools in the world.  Yvette has returned to the institution where she received her own filmmaking education, USC, to help inform the next generation as to what they need to know about the craft, as well as the career, of editing.  At the American Film Institute, Matt asks his grad students to consider more than just how to put a story together, but to question why something works or something doesn't; never letting them forget that every frame matters.

Yvette M. Amirian, ACE

Yvette M. Amirian, ACE is an award-nominated film and television editor. After graduating from the University of Southern California?s (USC) School of Cinema-Television, she built a successful career and has been transitioning seamlessly between editing scripted and documentary content for the better part of two decades.

In 2011, she and her team received an Eddie Award nomination from the American Cinema Editors (ACE) for their work on Animal Planet?s Whale Wars. In 2017, she edited and produced John Singleton?s L.A. Burning: The Riots 25 Years Later for A&E, which was nominated for a Primetime Emmy (Outstanding Documentary Special). Her most recent project is an upcoming scripted feature for critically acclaimed filmmaker Robert Machoian, The Integrity of Joseph Chambers.

Yvette is a proud member of the Motion Picture Editor?s Guild, the Academy of TV Arts & Sciences, and ACE. She lives in Los Angeles with her husband and two sons.

Matt Friedman, ACE

Matt won the 2021 ACE Eddie for Best Edited Feature Film (Comedy) for Palm Springs, and was nominated in 2020 for "The Farewell".  He was born in rural east Tennessee to a coal mining family living in the foothills of the Appalachians.  After graduating from Oak Ridge High School with an emphasis in Extinct Ancient Languages, Matt headed for Chicago to attend Northwestern University. Due to a series of accidental registration errors, he ended up with enough credits for a degree in Economics as well as Film. None of his college film work involved blowing up model cars, however. He finished his Econ degree at the University of Queensland, in Brisbane, Australia, where he was offered AU$100 and a Sydney snow globe by a group of Australian students if he would vote for Clinton in '92 via absentee ballot.

Matt then moved to a spacious two bedroom apartment in scenic North Hollywood to begin his film career in earnest. Arriving just in time for the Northridge Earthquake and the fires and mudslides of '93, he was very lucky to begin working for a series of extremely supportive and wonderful editors, including (but not limited to!) Peter Teschner, Emma Hickox, Jill Bilcock, and Sheldon Kahn.

In recent years, Matt has enjoyed cutting a variety of different types of films and television pilots, including films in Spanish and Chinese, even though he doesn't speak the languages. He now lives in the Hollywood Hills with his wonderful husband Chris and their son.

 

In our discussion with educators and editors Yvette M. Amirian, ACE and Matt Friedman, ACE about teaching editing in film school, we talk about:

What today's editors/educators learned from their own film school experience Crafting editing curriculums, or is it curricula? What editors can learn about editing from their students Taking off points for messy timelines The next steps right after film school The Credits

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Hear Matt discuss his work on PALM SPRINGS

See Matt walk you through his Media Composer timeline for PALM SPRINGS.

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Editor - Chris McCaleb, ACE

TO LESLIE editor Chris McCaleb ACE has been exploring the art and craft of editing since 2000, working closely with filmmakers like Michael Mann, John Sayles, and Vince Gilligan over the years.  In 2006, McCaleb co-founded the filmmaking collective Big Fantastic, where he was involved in the writing, directing, producing and editing of over 400 episodes of original online dramas, such as the Emmy-nominated ?Prom Queen? and ?Sam Has 7 Friends.?  McCaleb returned to editorial full-time in 2011, and has been editing TV series like ?Better Call Saul,? ?Halt and Catch Fire,? ?Fear the Walking Dead,? ?Patriot,? ?Lodge 49,? and ?Narcos? since 2014.  TO LESLIE is McCaleb's first feature film as an editor.

TO LESLIE tells the story of a West Texas single mother struggling to provide for her son when she wins the lottery and a chance at a better life for both of them.  But a few short years later the money is gone and Leslie is on her own, living hard and forced to make a difficult choice.

Editing To Leslie

In our discussion with TO LESLIE editor Chris McCaleb ACE, we talk about:

The true nature of awards season campaigns Bonding with the director over virtual reality Giving producers and directors other options Protecting the performances with every cut Teaching the audience how to watch your movie The Credits

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Hear Chris talk about his work on BETTER CALL SAUL

Listen to Chris and BREAKING BAD / BETER CALL SAUL teammates Kelley Dixon ACE (editor) and Kathryn Madsen (sound supervisor) give their advice for future film and tv makers

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Editor - Matt Chesse, ACE

A MAN CALLED OTTO editor Matt Chesse ACE once again finds himself cutting with frequent collaborator, director Marc Forster.  The pair have been working together since 2000 and have joined forces on such films as; MONSTER'S BALL(2001), FINDING NEVERLAND (2004), THE KITE RUNNER (2007), QUANTUM OF SOLACE (2008) and CHRISTOPHER ROBIN (2018).  For their latest project, the two have the enormous task of delicately balancing drama and comedy in their cinematic adaptation of the moving New York Times bestseller.

A MAN CALLED OTTO tells the story of Otto Anderson (Tom Hanks), a grumpy widower whose only joy comes from criticizing and judging his exasperated neighbors. When a lively young family moves in next door, he meets his match in quick-witted and very pregnant Marisol, leading to an unexpected friendship that will turn his world upside-down.

Editing A Man Called Otto

In our discussion with A MAN CALLED OTTO editor Matt Chesse ACE, we talk about:

What to do when the editor "Snoods out" on you The editor's role in casting Scouting and tweaking cutting rooms Walking the tightrope of pathos and punchlines Making needle drops a family business The Credits

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Editor - Doc Crotzer, ACE

SHOTGUN WEDDING editor Doc Crotzer ACE has plenty of experience cutting comedy, but most of that came from his ACE Eddie-nominated work on the hit tv series, GLEE.  Prior to SHOTGUN WEDDING, Doc's only real studio feature film experience was in the Sci-Fi/Fantasy film, CHAOS WALKING (2021); which didn't exactly afford him the opportunity to go for laughs.  That all changed with his sophomore feature film effort, the new action comedy SHOTGUN WEDDING.

SHOTGUN WEDDING sees soon-to-be newlyweds Darcy (Jennifer Lopez) and Tom (Josh Duhamel), along with their lovable but very opinionated families, gathering for the ultimate destination wedding.  Just when the couple starts to get cold feet, the wedding party is taken hostage; forcing them to work together to save their loved ones, provided they don't end up killing each other first.

Editing Shotgun Wedding

In our discussion with Shotgun Wedding editor Doc Crotzer ACE, we talk about:

Living in LA so you can get a job in NYC Building working relationships with studios Anchoring action to geography What screenings can tell you about your score Adapting your process to suit the needs of the team The Credits

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Hear Doc discuss his work on CHAOS WALKING

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Editor - Jeff McEvoy

M3GAN editor Jeff McEvoy doesn't exactly spend his free time going down the rabbit hole that is TikTok.  More often he can be found getting in some exercise in the cutting room or on the hiking trails.  So he was just as surprised as anyone when the trailer for his Blumhouse horror movie about a "killer robot doll" blew up on the social media site most famous for showcasing lousy dancing and eating challenges.  But what should be no surprise is that Jeff's considerable storytelling skills and years of experience as an editor helped make M3GAN the breakout hit that it's become.

M3GAN is a marvel of artificial intelligence, a lifelike doll that's programmed to be a child's greatest companion and a parent's greatest ally. Designed by Gemma (Allison Williams), a brilliant roboticist, M3GAN can listen, watch and learn as it plays the role of friend and teacher, playmate and protector. When Gemma becomes the unexpected caretaker of her 8-year-old niece, she decides to give the girl an M3GAN prototype, a decision that leads to unimaginable consequences.

Editing M3GAN

In our discussion with M3GAN editor Jeff McEvoy, we talk about:

The importance of air squats in the cutting room Hiring comedians to bring the comedy Getting really good with the UNREAL engine Using Melodyne in Pro Tools for dialogue design Dynamic morphing your way from an R to a PG-13 The Credits

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Editor - Stephen E. Rivkin ACE

AVATAR - THE WAY OF WATER editor Steve Rivkin was no stranger to crafting an epic sci-fi film with director James Cameron.  Rivkin was on hand for the original, record-shattering film that spawned what would become a fantasy franchise.  Still, with WAY OF WATER, there would be new challenges to overcome, not the least of which would be working with ground-breaking underwater motion capture techniques and unique processes such as "facial performance replacement".

Twelve years after the Na'vi repelled the human invasion of Pandora by the Resources Development Administration (RDA), Jake Sully lives as chief of the Omaticaya clan, and raises a family with Neytiri, which includes sons Neteyam and Lo'ak, daughter Tuk, and an adopted daughter Kiri (born from Grace Augustine's inert avatar). His children are inseparable from a human boy named Spider, the son of Colonel Miles Quaritch, who was born on Pandora and was unable to be transported to Earth in cryostasis due to his infancy. To the Na'vi's dismay, the RDA returns to prepare Pandora for human colonization, as Earth is dying. Among the new arrivals are 'recombinants'?Na'vi avatars implanted with the minds and memories of deceased human soldiers?with Quaritch's recombinant serving as their leader.

Editing Avatar - The Way of Water

In our discussion with Avatar - The Way of Water editor Stephen E. Rivkin ACE, we talk about:

Building a blockbuster from table reads and title cards Crafting two big movies at the same time Centering production around "Spider" Cutting the film at least two times Retiring The Rough Cut The Credits

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Editor - Sven Budelmann

ALL QUIET ON THE WESTERN FRONT editor Sven Budelmann knew he was in for a challenge in remaking the classic German anti-war novel.  Not only was the novel already brought to the big screen as a 1930 Oscar® winner for Best Picture, but adding to the task was that this film would be the first ever adaptation made by German filmmakers.  Fortunately Sven would be collaborating with a director with whom he was quiet familiar.  Prior to this project, Sven had worked with director Edward Berger on six episodes of the German TV series, DEUTSCHLAND 83, as well as a German made-for-TV movie.  In addition to his work with Berger, Sven also cut an episode of the highly-acclaimed Netflix series, DARK.

Set in the closing days of World War I, ALL QUIET ON THE WESTERN FRONT (based on the 1929 novel of the same name by Erich Maria Remarque) follows the life of an idealistic young German soldier named Paul Bäumer.  After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive.  The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war.

Editing All Quiet on the Western Front

In our discussion with ALL QUIET ON THE WESTERN FRONT editor Sven Budelmann we talk about:

Closing the door on snare drum hits Letting the audience finish their popcorn in the opening minutes of the film Using the Avid Artist | DNxID for Zoom reviews Marty Schenk's sizzling reels The psychological toll cutting a war movie takes on its editor The Credits

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Editor - Daysha Broadway, ACE

I WANNA DANCE WITH SOMEBODY editor Daysha Broadway, ACE returns to The Rough Cut podcast with both an Emmy® in hand for her work on HBO'S A BLACK LADY SKETCH SHOW and her first feature film as an editor.  A Los Angeles native, Daysha began her career with a Master's Degree in Film Editing from Dodge College of Film and Media Arts at Chapman University.  Prior to her feature editing debut, Daysha had spent most of her career editing documentary, scripted, and unscripted television.  In addition to A BLACK LADY SKETCH SHOW, her TV credits include numerous shows such as INSECURE, 9-1-1, TWENTIES and BOOMERANG. Daysha has also contributed her talents to documentaries such as LIGHT GIRLS and SURVIVING R. KELLY; the latter of which earned her a Peabody award.

Directed by Kasi Lemmons (EVE'S BAYOU, HARRIET) from a screenplay by Anthony McCarten (BOHEMIAN RHAPSODY), WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY is based on the life and career of American pop singer and actress Whitney Houston. Discovered by record executive Clive Davis, Whitney rose from obscurity to international fame in the 1980s to become one of the greatest singers of her generation.  The film stars Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, and Clarke Peters.

Editing WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY

In our discussion with editor Daysha Broadway, ACE we talk about:

Making someone's favorite movie Driving a narrative through pop hits The intricacies of intercutting Bringing "The Voice" back to life with an Oscar®-winning sound team Daysha's New Year's resolution The Credits

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Hear Daysha and her Emmy®-winning co-editors discuss cutting A BLACK LADY SKECTH SHOW

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Editors - Michael Kahn ACE and Sarah Broshar

THE FABELMANS editors Michael Kahn ACE and Sarah Broshar have been working together for sixteen years, going back to the film 10 ITEMS OR LESS (2006), written and directed by Brad Silberling.  At that time, Sarah was in the cutting room as an apprentice.  It would be five more years before Sarah would work with both Michael Kahn AND Steven Spielberg on THE ADVENTURES OF TINTIN (2011); this time as an assistant.  Six years later on Spielberg's THE POST (2017), Sarah would take on co-editorial duties with Mr. Kahn.  She would continue to do so on Spielberg?s subsequent films; READY PLAYER ONE (2018), WEST SIDE STORY (2021) and THE FABELMANS.  Veteran editor Michael Kahn ACE first worked with Spielberg on CLOSE ENCOUNTERS OF THE THIRD KIND (1977).  Among his numerous notable films, Michael would go on to win Oscar® awards for editing Spielberg's RAIDERS OF THE LOST ARK (1981), SCHINDLER?S LIST (1993) and SAVING PRIVATE RYAN (1998).

THE FABELMANS is a coming-of-age drama film directed by Steven Spielberg and written and produced by Tony Kushner and Spielberg.  It is a semi-autobiographical story loosely based on Spielberg's adolescence and first years as a filmmaker. The tale is told as an original story of the fictional Sammy Fabelman, a young aspiring filmmaker who explores how the power of films can help him see the truth about his dysfunctional family. The film features an ensemble cast that includes Gabriel LaBelle as Sammy, with Michelle Williams, Paul Dano, Seth Rogen, and Judd Hirsch in supporting roles. The film is dedicated to the memories of Spielberg's real-life parents Leah Adler and Arnold Spielberg, who died in 2017 and 2020, respectively.

Editing The Fabelmans

In our discussion with THE FABLEMANS editors Michael Kahn ACE and Sarah Broshar, we talk about:

Working with Steven Spielberg, of course! Sharing one big Avid Making up match cuts A close encounter on Hogan's Heroes Looking forward, never backward The Credits

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