The Rough Cut

This is the second volume of the widely acclaimed Art of the Cut book published in 2017. This follow-up text expands on its predecessor with wisdom from more than 360 interviews with the world’s best editors (including nearly every Oscar winner from the last 30 years).

Because editing is a highly subjective art form, and one that is critical to the success of motion picture storytelling, it requires side-by-side comparisons of the many techniques and solutions used by a wide range of editors from around the world. That is why this book compares and contrasts methodologies from a wide array of diverse voices and organizes that information so that it is easily digested and understood.

There is no one way to approach editorial problems, so this book allows readers to see multiple solutions from multiple editors. The interviews contained within are carefully curated into topics that are most important to film editors and those who aspire to become film editors. The questions asked, and the organization of the book, are not merely an academic or theoretical view of the art of editing but rather the practical advice and methodologies of actual working film and TV editors, bringing benefits to both students and professional readers.

The book is supplemented by a collection of downloadable online exclusive chapters, which cover additional topics ranging from Choosing the Project to VFX. In addition to the supplementary chapters, access to the full-color, full-resolution images printed in the book—and other exclusive images—is included.

Steve has been editing professionally since 1984. He has edited theatrical feature films, (including Courageous, War Room, and Overcomer), TV series (including The Oprah Winfrey Show), and documentaries. He is the author of six other books on editing and post-production. He has taught editing to students and professionals all over the world, and his books have been translated into numerous languages. His work has also been published in post-production trade journals worldwide.

In our discussion with editor and author Steve Hullfish, ACE we talk about:

• Getting off the sidelines and into the editing game
• Turning three million words into one big book
• An editor getting notes from a hundred other editors
• The changing dynamic between assistant and editor
• How Avid can really save you money

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Although the ALIEN: ROMULUS postproduction team of Jake Roberts ACE, Will Files, Polly McKinnon and Lee Gilmore came into this project with a wealth of knowledge and experience amongst them, they still learned a thing or two from director Fede Álvarez, including Fede's not-so-secret formula for jump scares, as well as the notion that clear dialogue isn't always as important as gripping action.  Plus, they reveal the hidden intent of Álvarez to split ALIEN and ALIENS into the two sides of the REMUS/ROMULUS space station.

ALIEN: ROMULUS is the ninth installment in the Alien franchise, set between the events of ALIEN (1979) and ALIENS (1986). The film follows a group of downtrodden young space colonists in pursuit of better life conditions.  During the course of their escape from endless servitude on a mining colony, they encounter hostile creatures while scavenging a derelict space station.

After his work on CITADEL (2012), STARRED UP (2013), THE RIOT CLUB (2014) and BROOKLYN (2015), Roberts earned an Oscar nomination for Best Film Editing for his work on HELL OR HIGH WATER (2016) starring Chris Pine. The movie also garnered him a nomination for an Independent Spirit Award.  Roberts then cut OUTLAW KING (2018) for Netflix directed by David Mackenzie.  He then began collaborating with director Alex Garland, editing his 2020 miniseries DEVS as well as his film, MEN (2022).  Prior to ALIEN: ROMULUS, Jake cut Garland's CIVIL WAR (2024).

Will Files is known for his work on THE INVISIBLE MAN (2020), VENOM (2018), WAR FOR THE PLANET OF THE APES (2017), STAR WARS:  EPISODE VII – THE FORCE AWAKENS (2017) and CLOVERFIELD (2008).

Polly McKinnon is known for DISTRICT 9 (2009), FORD V FERRARI (2019) and INDIANA JONES AND THE DIAL OF DESTINY (2023).  In 2019 she won a Golden Reel Award for her sound editing on EXTINCTION (2018).

Lee Gilmore is known for BLADE RUNNER 2049 (2017), DUNE (2021) and THE BATMAN (2022).  Gilmore also won an Emmy for his work on the feature film, PREY (2022).

In our discussion with the Alien: Romulus postproduction team, we talk about:

• Bringing the noise to the set
• Clubbing with Fincher
• Going "Holm" again
• The sweet sound of saturated seventies screams
• Fede's formula for jump scares

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Listen to Jake talk about his work on CIVIL WAR

Hear Will discuss the psychology of SOUND DESIGN and how he employed it on GHOSTBUSTERS: AFTERLIFE and THE BATMAN

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FURIOSA editor Eliot Knapman is no stranger to the post-apocalyptic postproduction of a Mad Max movie, having previously worked as ACE editor Margaret "Margie" Sixel's second assistant on MAD MAX: FURY ROAD.  For director George Miller's latest film in the franchise, not only was Eliot tapped to be co-editor with Sixel, but was there on set with Miller throughout production doing the first assembly under what had to be fun, but arduous, conditions.

FURIOSA is the fifth installment in Miller's Mad Max franchise, and the first not focused on series protagonist Max Rockatansky, instead acting as both a spin-off prequel to MAD MAX: FURY ROAD (2015) and an origin story for the Fury Road character Furiosa, portrayed by both Anya Taylor-Joy and Alyla Browne in the prequel.  Set 15 to 20 years before the events of Fury Road, the film follows the title character's life for over a decade, from her kidnapping by the forces of warlord Dementus (Chris Hemsworth) to her ascension to the rank of Imperator.

In our discussion with FURIOSA editor Eliot Knapman, we talk about:

• Origin stories on screen and in the cutting room
• Q-Taking it all in
• Digging through the ToyBox to build the War Rig
• Keeping your protagonist active
• Having fun with frame rates

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DEADPOOL & WOLVERINE editors, Dean Zimmerman ACE and Shane Reid are the "buddies" in the cutting room of what is shaping up to be the biggest, R-rated buddy movie of all time.  Zimmerman joined this film with two other Shawn Levy / Ryan Reynolds films to his credit, but it would be Mrs. Pool (Blake Lively) who would be Shane Reid's connection into the "Merc With a Mouth" franchise.

Deadpool's peaceful existence comes crashing down in DEADPOOL & WOLVERINE when the Time Variance Authority recruits him to help safeguard the multiverse.  He soon unites with his would-be pal, Wolverine, to complete the mission and save his world from an existential threat.

DEADPOOL & WOLVERINE finds Dean collaborating once again with director and longtime friend, Shawn Levy.  The two have been working together for over twenty years on projects like the NIGHT AT THE MUSEUM franchise and a little series called STRANGER THINGS.  More recently, the two have joined forces with Ryan Reynolds for FREE GUY (2021) and THE ADAM PROJECT (2022).   Zimmerman and Levy are currently working on the much-anticipated final season of STRANGER THINGS.  Dean's father, Don Zimmerman, is a highly accomplished editor in his own right.   (yes, I totally hacked this from the write-up on Dean I did for THE ADAM PROJECT)

As a partner of the award-winning post house Exile Edit, Shane has been nominated for, and won, multiple awards for his work in the commercial space with top brands including Apple, Adidas, BMW, Hennessy, Audi and the Olympics.  He quickly became one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat & Chloe Zhao. He has also cut multiple music videos for Taylor Swift, Paul McCartney, Florence + The Machine and Kamasi Washington.

In 2018, Reid edited on the film A Hidden Life for director Terrence Malick.  He recently cut the short film I’m on Fire for director Michael Spiccia which premiered at the 2022 Toronto and Clermont-Ferrand International Festivals, as well as Sony Pictures' GHOSTBUSTERS: FROZERN EMPIRE.

In our discussion with DEADPOOL & WOLVERINE editors, Dean Zimmerman ACE and Shane Reid, we talk about:

• Text messages…big text messages
• Stranger Things taking place in the MCU
• Masking up for ADR
• Jennifer Stellema, Superhero assistant
• Revisiting the rewinds

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Watch Dean and his team break down scenes from Stranger Things

Hear Shane talk about his work on GHOSTBUSTERS: FROZEN EMPIRE

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Listen to Dean discuss doing FREE GUY and THE ADAM PROJECT with Shawn Levy and Ryan Reynolds

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TWISTERS editor Terilyn Shropshire has more than a few action movies under her belt, but those films mostly featured action in the style of man (or woman) vs. man; films like THE OLD GUARD and THE WOMAN KING.  This time Teri takes on Mother Nature in a film where the visual effects are front and center in the set pieces.

A standalone "spiritual" sequel to TWISTER (1996), TWISTERS tells the story of scientist and storm chaser, Kate Cooper.  Haunted by a devastating encounter with a tornado, Kate gets lured back to the open plains by her friend, Javi, to test a groundbreaking new tracking system. She soon crosses paths with Tyler Owens, a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma.

Award-winning editor Terilyn A. Shropshire has risen to the pinnacle of the editing world over the course of her long career, consistently working on a broad range of films with the industry’s foremost filmmakers. Shropshire’s success spans many forms and mediums, and always accumulates accolades from both the industry and critics alike.

Among Shropshire’s longtime collaborators is award-winning director/writer/producer Gina Prince-Bythewood, having worked with her closely since Bythewood’s classic debut, “Love & Basketball.” Shropshire most recently worked with Bythewood on “The Woman King,” for Sony’s Tristar Pictures. Among the many accolades Shropshire received for the film include an American Cinema Editors Eddie nomination for Best Edited Feature Film Drama Theatrical and winner for Outstanding Editing from the Black Reel Awards.  Other collaborations with Prince-Bythewood include the influential features “The Old Guard,” “Beyond the Lights,” and “The Secret Life of Bees.”

Shropshire’s storied career also includes a number of films with long-time collaborator, Kasi Lemmons – the classic Southern drama “Eve’s Bayou,” along with “The Caveman’s Valentine,” “Talk to Me,” and “Black Nativity.”

In 2019, Shropshire received an American Cinema Editors Eddie nomination for her work on Part 1 of Netflix’s four-part miniseries “When They See Us,” directed by Ava DuVernay. Shropshire earned an Emmy nomination for her Lifetime Achievement Award Tribute to Sidney Poitier for the 74th Annual Academy Awards and an ACE Eddie Award for the Jamie Foxx-starring crime drama, “Redemption: The Stan Tookie Williams Story.”

Teri serves on the Board of Governors at the Academy of Motion Picture Arts and Sciences and the Board of American Cinema Editors. Shropshire is a member of the Academy of Television Arts and Sciences and the Diversity Committee of the Motion Picture Editor’s Guild. She is the recipient of the 2021 Sundance Institute/Adobe Mentorship Award for her commitment to supporting the future’s rising stars in the craft.  She earned dual Bachelor of Arts degrees in Broadcast Journalism and Cinema at the University of Southern California.

In our discussion with TWISTERS editor Terilyn Shropshire, we talk about:

• Soundtracks for stormy weather
• Cyclonic oners
• A need for editorial amnesia
• "Teri-nadoes"
• The kiss that never came

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Hear Teri talk about his work on THE OLD GUARD and THE WOMAN KING

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CLIPPED editors Susy Benaim and Todd Downing are no strangers to telling true stories about real-life characters, compelling and complicated real-life characters.  Those storytelling skills were put to the test for CLIPPED, a sordid soap opera about the day of reckoning for one of the NBA's most notorious owners.

Created by showrunner Gina Welch and based on the ESPN 30 for 30 podcast The Sterling Affairs, CLIPPED focuses on the downfall of Los Angeles Clippers owner Donald Sterling (Ed O'Neill), amid the team's drive to win a championship under new coach Doc Rivers (Laurence Fishburne).

Susana Benaim is a Venezuelan Film and Television Editor best known for her work on THE DROPOUT on Hulu, NATIONAL TREAURE: EDGE OF HISTORY series for Disney+, and SELF MADE: INSPIRED BY THE LIFE OF MADAM C.J. WALKER on Netflix.  Susy is currently a Junior Mentor for the ACE Diversity Mentorship Program, for which she was also a mentee a few years prior. She recently wrapped editing on the feature film HURRICANNA, directed by Francesca Gregorini.

In our discussion with CLIPPED editors Susy Benaim and Todd Downing, we talk about:

• Developing a "doom scroll"
• Being objective with dailies
• Spending time with horrible people
• Gina hates jazz
• Making a basketball series without basketball

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Hear Todd talk about his work on MRS. AMERICA and RUSSIAN DOLL

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BEVERLY HILLS COP: AXEL F editor Dan Lebental not only took on the daunting task of bringing back a beloved character that audiences haven't seen in thirty years, but he did it with one hand.  The other was working simultaneously on another Bruckheimer blockbuster, BAD BOYS: RIDE OR DIE.  With the help of his long-time assistant, Dawn Michelle King, and his trusty "embedded sound design" workflow, Dan was able to pull off making both films in fine style.

BEVERLY HILLS COP: AXEL F sees the titular hero return to Beverly Hills to aid his adult daughter after her life is threated when she gets too close to a crime ring being investigated by Axel's old friend, Billy Rosewood.

In our discussion with BEVERLY HILLS COP: AXEL F editor Dan Lebental, we talk about:

• When an editor works both sides of the street
• Nailing the nostalgia notes
• Doing a deeper dive on embedded sound design
• Taking a logical look at the script
• Defining the 80's style of filmmaking

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Hear Dan talk about his work on; SPIDER-MAN: FAR FROM HOME, ELF, BAD BOYS FOR LIFE and DUNGEONS & DRAGONS.

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THE SYMPATHIZER editor Viks Patel was a fan of director Park Chan-wook long before they ever teamed up to work on their new MAX series.  But unbeknownst to Viks, the pair had actually worked together previously, in a sense, on SNOWPIERCER (2020). Viks edited the pilot for the series which Director Park exec produced.  Back together again on THE SYMPATHIZER, the two joined creative forces to bring Viet Thanh Nguyen's book to the small screen in a big way.

Based on Viet Thanh Nguyen’s Pulitzer Prize-winning novel, The Sympathizer is an espionage thriller and cross-culture satire about the struggles of a half-French, half-Vietnamese communist spy during the final days of the Vietnam War and his new life as a refugee in Los Angeles, where he learns that his spying days aren't over.

In our discussion with THE SYMPATHIZER editor Viks Patel, we talk about:

• Drama in the front, comedy in the back
• Voicing thoughts on voice overs
• The sweet soul sounds of seventies needle drops
• Sound designing the Saigon sequence
• RDJ on the sacred mystery of editing

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Hear Viks Patel talk about cutting Ozark

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HIT MAN editor Sandra Adair, ACE is no stranger to working with writer/director Richard Linklater.  The two first collaborated on Linklater's debut studio feature, DAZED AND CONFUSED (1993).  Over the next thirty years they would go on to make the "Before" trilogy - BEFORE SUNRISE (1995), BEFORE SUNSET (2004), BEFORE MIDNIGHT (2013), as well as the over-a-decade-in-the-making BOYHOOD (2014), for which Sandra would receive an Oscar® nomination for Best Film Editing.  Someone else Sandra has had by her side in the cutting for several years is assistant editor Carissa Bronson, who first worked with Sandra on her documentary, THE SECRET LIFE OF LANCE LETSCHER (2017).

The somewhat true story of HIT MAN tells the tale of Gary Johnson, who is a professor of psychology and philosophy at the University of New Orleans, while also working undercover with the New Orleans Police Department to assist in undercover sting operations. When Jasper, a fellow cop who portrays fake hitmen to solicit murder-for-hire confessions and payments from “customers,” is suspended, Gary is unwillingly ushered into the role. Gary quickly finds himself to be a natural in garnering solicitations, going so far as to research suspects in advance and tailor a unique persona for each one.  Things take a big turn for Gary when he meets Madison, a beautiful woman who tries to contract "Ron" (Gary) to kill her abusive husband.

Sandra Adair is known for her work on BOYHOOD (2014), BERNIE (2012), SCHOOL OF ROCK (2003), and the cult classic DAZED AND CONFUSED (1993). Adair is also known for her work on the critically acclaimed 'Before' trilogy, BEFORE SUNRISE (1995), BEFORE SUNSET (2004) and BEFORE MIDNIGHT (2013).  Adair made her directorial debut with the feature documentary, THE SECRET LIFE OF LANCE LETSCHER (2017).

In addition to HIT MAN, Carissa Bronson is known for films such as LAST FLAG FLYING (2017) and WHERE'D YOU GO, BERNADETTE (2019).

In our discussion with the HIT MAN editing team of Sandra Adair and Carissa Bronson, we talk about:

• Lecturing Glen Powell
• Charting a course for success in the cutting room
• New Orleans needle drops
• Hit men vs assassins
• Editing away from L.A.

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BECKHAM editor Michael Harte has quickly established himself as an editorial force to be reckoned with in the field of documentary filmmaking.  He received ACE Eddie and Emmy-nominations for cutting the astounding, THREE IDENTICAL STRANGERS (2018), and then followed that up with another Eddie nomination and an Emmy win for his work on STILL: A MICHAEL J. FOX MOVIE (2023).

Despite the tremendous lore around him as an athlete and pop culture figure, few have gotten the chance to know the man behind the name — until now.  BECKHAM, a four-part documentary series, gives fans never-before-seen insights into who Beckham actually is.  The result is an unprecedented look at an icon who, despite spending nearly 30 years in the public eye, still has some surprises to share with the world.

In our discussion with BECKHAM editor Michael Harte, we talk about:

• Turning a football doc into a love triangle
• Killing one bird with two stones in the cutting room
• The gamut of how documentary directors take part in their projects
• Being creatively contrarian with archival content
• Having a watch battle with Beckham

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BABY REINDEER editor Peter Oliver had just one word to describe Richard Gadd's script when he first read it.  That word was "wow"!  Viewers of the hit Netflix series can certainly relate to that reaction as the show has resonated with audiences for its ability to delicately blend humor and pathos.

Created by and starring Richard Gadd, BABY REINDEER is adapted from Gadd's autobiographical one-man show.  It tells the story of aspiring comedian Donny Dunn, who works as a bartender in a London pub.  One fateful day, Donny offers a cup of tea to a customer, Martha, to cheer her up.  Martha develops a strong attachment to Donny and starts coming to the bar every day.  Her fascination and attraction to Donny rapidly descends into Martha harassing Donny online and in person.

Prior to his work on BABY REINDEER, Peter Oliver's editing talents were on display in series such as THE BILL (2005-09), BAD EDUCATION (2013), RED DWARF (2016-17), and GOLDIE'S OLDIES (2021).  Peter's work can next be seen in the upcoming Netflix series, ERIC (2024) starring Benedict Cumberbatch.

In our discussion with BABY REINDEER editor Peter Oliver, we talk about:

• The overwhelming aspect of group Zoom interviews
• Finding darkness in the lightness, and lightness in the darkness
• Letting the lyrics be the subtext
• Pushing in, in post
• The subtle stitching of three-sixty shots

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The Fall Guy editing team of editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher once again find themselves in the cutting room of a David Leitch action spectacular.  With this film being the fifth the trio has worked on together; their postproduction process is like a highly coordinated stunt sequence.

THE FALL GUY, directed by David Leitch from a script written by Drew Pearce, is loosely based on the 1980's TV series about a stuntman who moonlights as a bounty hunter.  The film version follows a stuntman (Ryan Gosling) working on his ex-girlfriend's (Emily Blunt) directorial debut action film, only to find himself involved in a conspiracy surrounding the film's lead actor (Aaron Taylor-Johnson).

Elísabet Ronaldsdóttir is an award winning tv and film editor, who has worked on over 50 feature films, television programs, documentaries, as well as animated features. She is best known for her collaborations with film directors David Leitch for BULLET TRAIN (2023), JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018) and Baltasar Kormákur for JAR CITY (2006), THE SEA (2002) and CONTRABAND (2012). 

Although Elísabet edited various movies throughout her career, she developed international recognition for her ability to balance humor and seriousness in action features. She built her international prominence by editing CONTRABAND (2012) and later JOHN WICK (2014), which also began her career-long partnerships with Baltasar Kormákur and David Leitch. She first started in the industry by editing Icelandic tv programs, shows, and films.

Elísabet is also actively participating and changing the industry. She is a founding member and two-term inaugural chairwoman of Women in Film & Television Iceland (WIFT Iceland). In addition, Elísabet has sat on the Icelandic Producers Guild board and served for two years as chairwoman of The Icelandic Film & TV Academy in 2005 and 2006. Since 2007 Elísabet has been a board member of the prominent Filmmakers at Reykjavík International Film Festival (RIFF). Born and raised in Reykjavik Iceland, Elísabet is graduate of the London Film School.

Assistant editor Matt Absher has been Elísabet Ronaldsdóttir's right hand man in the cutting room for seven films spanning eleven years.   In addition to their most recent work on David Leitch's THE FALL GUY, the two collaborated on; THE MISSIONARY (2013), JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018), SHANG-CHI and THE LEGEND OF THE TEN RINGS (2021) and KATE (2021).  Aside from his work with Elísabet, Matt has also assisted editors such as Stephen Mirrione on THE INFORMANT! (2009) and Nick Monsour on NOPE (2022).

In our discussion with The Fall Guy editing team of editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher, we talk about:

• Defining David Leitch
• Intercutting to the chase
• Taming a triad of tones
• Syncing split screens
• Voice over and out

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Listen to Elísabet discuss cutting BULLET TRAIN

Check out Elísabet's talk with her co-editors from SHANG-CHI and THE LEGEND OF THE TEN RINGS

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CIVIL WAR editor Jake Roberts ACE is back once again in the cutting room with writer/director Alex Garland for a sequel of sorts to their 2022 feature, MEN.  Although MEN was their first foray into collaborating on a feature, Jake and Alex first worked together on the 2020 FX mini-series, DEVS.

Written and directed by Alex Garland (EX MACHINA, MEN), CIVIL WAR follows a team of journalists traveling across the United States during a civil war fought between an authoritarian federal government and several regional factions. The cast includes Kirsten Dunst, Wagner Moura, Cailee Spaeny, Stephen McKinley Henderson, Sonoya Mizuno and Nick Offerman.

After his work on 2012's CITADEL, 2013's STARRED UP, 2014's THE RIOT CLUB, and 2015's BROOKLYN, Roberts earned an Oscar nomination for Best Film Editing for his work on 2016's HELL OR HIGH WATER starring Chris Pine. The movie also garnered him a nomination for an Independent Spirit Award. Roberts then cut 2018's OUTLAW KING for Netflix directed by David Mackenzie. He then began collaborating with director Alex Garland, editing his 2020 miniseries DEVS and 2022 film MEN.  Jake is currently putting the finishing touches on Fede Alvarez's upcoming ALIEN: ROMULUS for 20th Century Studios.

In our discussion with Civil War editor Jake Roberts ACE, we talk about:

• The non-linear editing benefits of a linear production
• Depoliticizing a political thriller
• The unsettling sound of silence
• How tension can affect retention
• The skill of slotting in stills

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The 3 BODY PROBLEM editing team of editor Michael Ruscio, ACE and assistant editor Josh Carley collaborated for the first time to take on arguably the biggest episode of the Netflix adaptation of the Chinese sci-fi novel.  Helmed by former GAME OF THRONES showrunners David Benioff and D.B. Wiess, 3 BODY PROBLEM masterfully blends multiple genres, including action, fantasy and psychological thriller.

The wheels of 3 BODY PROBLEM are set in motion when Ye Wenjie, an astrophysicist who sees her father beaten to death during a struggle session in the Chinese Cultural Revolution, is conscripted by the military. Due to her scientific background, she is sent to a secret military base in a remote region. Her decision at the base to respond to contact from an alien planet implicates a group of scientists in the present day, forcing them to confront humanity's greatest threat.

Michael Ruscio began his editing career making films with independent mavericks Alan Rudolph and Robert Altman.  He has enjoyed editing some of the top dramatic shows of the past twenty years, including The Sopranos, Homeland, Dexter, House of Cards and Six Feet Under, where he first met Rodrigo Garcia, for whom he edited the film Raymond & Ray.  Recent work featuring Michael's talents include Pieces of Her, Your Honor, Carnival Row, Ridley Scott's Raised by Wolves, and Hulu’s Catch-22.  Ruscio was nominated for an ACE Eddie Award for the finale of Six Feet Under and won the 2009 Eddie for the pilot of True Blood.  He created a workshop for the American Film Institute on the art of editing which he also taught at the Los Angeles Film School. Additionally, he has directed multiple episodes of the HBO series True Blood and his short film In Order of Appearance received ensemble and individual acting awards during its festival run.  He is currently editing the upcoming Amazon series Butterfly.

Josh Carley started his editing career in his home state of Louisiana, where he cut short films, trailers, EPKs, web pieces, local commercials, music videos, and a large array of other kinds of projects. His work led him to projects with other local filmmakers, and projects for SYFY, Lifetime, and Hallmark.  In 2018 Josh moved to Los Angeles where he still resides with his wife and kids. He’s had the privilege on working as Assistant Editor on such shows as Amazon’s Utopia and The Terminal List, FX’s The Old Man, and Apple TV’s Truth Be Told.  In addition to 3 Body Problem, his most recent work can be seen in the upcoming final season of The Umbrella Academy.

In our discussion with the 3 BODY PROBLEM editing team of Michael Ruscio and Josh Carley, we talk about:

• Doubling down on dialogue to deliver the action
• Slicing through the VFX work
• Taking a different angle on the same scene
• Sound advice for assistants
• Transcontinental cutting rooms

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The work of SHOGUN editors, Maria Gonzales and Aika Miyake played a crucial role in the success of this adaptation of James Clavell's novel, as Maria and Aika created a fast-paced story, shifting the conflicts away from battlefields and into political intrigues by highlighting interpersonal dynamics, intense dialogue scenes, and the crucial role of female characters.  While editing, they were also often challenged with condensing the run times of episodes down from close to one hundred minutes to one hour each, while still fleshing out the complex tapestry and culture clashes of XVII century Japan and overcoming language barriers themselves.

SHOGUN follows the collision of two ambitious men from different worlds; John Blackthorne, a risk-taking English sailor who ends up shipwrecked in Japan and in a country whose unfamiliar culture will ultimately redefine him, and Lord Toranaga, a shrewd and powerful daimyo at odds with his own dangerous political rivals.  Entangled with the pair is Lady Mariko, a woman with invaluable skills but dishonorable family ties, who must prove her value and allegiance.

With over twenty years of experience in the industry, Maria's previous television work includes many award-winning shows, including The Old Man, See, and Counterpart, as well as fan-favorite shows, like The Walking Dead and its spin-off show, The Walking Dead: The Ones Who Live. Outside of her episodic work, Maria served as an editor on two horror features: A24’s fantasy horror The Monster and Blumhouse’s horror thriller Mockingbird. She also previously worked as an assistant editor on the Academy Award-winning film The Bourne Ultimatum and Academy Award-nominated Up in the Air along with working on a long list of features beloved by audiences, including Jon Favreau’s Chef and Barry Sonnenfeld’s Men in Black II.  Maria sees editing as the subtle hand that guides narratives into seamless coherence, and she continually seeks the delicate equilibrium between creativity and technical mastery while fostering a creative environment that uplifts those around her.  Currently living in Los Angeles with her family, Maria was born in the United States but spent her formative years in modern-day Serbia before returning to LA to study at the USC School of Cinematic Arts, where she graduated with a BA in Cinema Studies.

Aika's sixteen years of film/tv work spans across all styles and genres, covering short-form branded content, documentaries, narrative TV, and feature films. Her television work includes Netflix's Emmy-winning documentary mini-series Chef's Table: BBQ, and Beyonce's Emmy-winning and Grammy-nominated visual album Black Is King. Aika also worked on a diverse range of films, including the "nominated at SXSW Film Festival" short documentary film Coming Home, and Best Documentary Feature winner at the Philadelphia Asian American Film Festival, Hafu: The Mixed-Race Experience in Japan. She started her career working on commercials and music videos with clients such as Nike, Pampers, IKEA, and Spotify to name a few.  Growing up in Japan, Aika enjoyed playing drums and making hundreds of mixtapes for her sisters, and after discovering her passion for photography, she opened her heart to the potential of filmmaking and how images paired with music could create emotional experiences.  She currently lives in Los Angeles.  Outside of her work in editing, Aika is passionate about food, travel, reggae music, and her two cats, Oreo and Millie.

In our discussion with SHOGUN editors, Maria Gonzales and Aika Miyake, we talk about:

• Starting off with subtitling
• The Red Hot Ronin Peppers
• Commercial breaking into the business
• Filling out the story with flashbacks
• "Feudal" gestures

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GHOSTBUSTERS: FROZEN EMPIRE editors, Nathan Orloff and Shane Reid both came into the latest installment of the supernatural, super funny franchise having past experience with writer/director Jason Reitman.  But whereas Nathan's work with Jason came from collaborating on feature films like GHOSTBUSTERS: AFTERLIFE (2021), Shane's work with Jason was amidst his impressive body of work in the commercial world.

FROZEN EMPIRE sees the Spengler family returning to the iconic New York City firehouse where the original Ghostbusters have taken ghost-busting to the next level. When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must unite to protect their home and save the world from a second ice age.

Nathan Orloff is known for his editing on TULLY (2018), PLAN B (2021), GHOSTBUSTERS: AFTERLIFE (2021) and JOHN WICK: CHAPTER 4 (2023).

As a partner of the award-winning post house Exile Edit, Shane has been nominated for, and won, multiple awards for his work in the commercial space with top brands including Apple, Adidas, BMW, Hennessy, Audi and the Olympics.  He quickly became one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat & Chloe Zhao. He has also cut multiple music videos for Taylor Swift, Paul McCartney, Florence + The Machine and Kamasi Washington.

In 2018, Reid edited on the film A Hidden Life for director Terrence Malick.  He recently cut the short film I’m on Fire for director Michael Spiccia which premiered at the 2022 Toronto and Clermont-Ferrand International Festivals.  Shane is currently co-editing Deadpool & Wolverine alongside editor Dean Zimmerman, ACE.

In our discussion with GHOSTBUSTERS: FROZEN EMPIRE editors, Nathan Orloff and Shane Reid, we talk about:

• How paying tribute to Ivan lead to a job that pays tribute to Ivan
• Being expeditious with the exposition
• Raising the stakes while staying funny
• Conquering the edit without clearly dividing it
• Less Mayor, more marshmallow

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ROAD HOUSE editor Doc Crotzer ACE got his first real studio feature film experience cutting Doug Liman's Sci-Fi/Fantasy film, CHAOS WALKING (2021).  Three years later Doug would tap Doc once again to take the film fight game to another level for Liman's latest entry in the action genre.

Directed by Doug Liman and produced by Joel Silver, this remake of the 1989 cult classic sees ex-UFC fighter Dalton take a job as a cooler at a Florida Keys roadhouse, only to discover that this paradise is not all it seems.

A filmmaking Swiss Army knife, Doc has directed, produced, and edited studio feature films, award winning television series, and immersive documentaries. He draws from his wide-ranging experience in production and postproduction to tell cinematic stories that remain grounded in human emotion, regardless of the medium. His encyclopedic knowledge of editing allows him to shoot efficiently and creatively, while inspiring confidence from collaborators on both sides of the camera. His favorite part of filmmaking is collaborating with actors and crew to create something in which the sum is truly greater than any of its parts. Doc’s instincts and work ethic are trusted at the highest levels, often quietly working as a “fixer” on studio films and TV shows that need fresh eyes to reach their fullest potentials. A musician himself, Doc has edited over 100 music videos and excels at bringing stories to life that incorporate music and visual effects.

Doc was nominated for an Emmy® for his work directing a web series and nominated for ACE and HPA awards for his work on the TV show Glee. He is a proud member of the Director's Guild of America, American Cinema Editors, and the Television Academy of Arts & Sciences.

In our discussion with Road House editor Doc Crotzer ACE, we talk about:

• Being "Bourne" again with Doug Liman
• Giving fight scenes the ol' Hollywood pass
• Taking 25% of a beating
• The battle in front of the bands
• Managing big personalities on screen and off

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STORMY editors Inbal B. Lessner, ACE and Ben Kaplan each brought their considerable experience in unscripted storytelling to this timely and unique perspective of a woman who dominated the headlines throughout and following the presidency of Donald Trump.

Directed and produced by Sarah Gibson, STORMY follows Stormy Daniels as she navigates being a mother, artist, and advocate working hard to reinvent herself following the Stormy Daniels–Donald Trump scandal.  Judd Apatow serves as an executive producer under his Apatow Productions banner.

Inbal B. Lessner, ACE is an Emmy-nominated and Eddie-winning producer and editor. Prior to her work on STORMY, Inbal was most well-known for such true crime hits as Starz' Seduced: Inside the NXIVM Cult (2020) and Netflix's Escaping Twin Flames (2023), both of which she co-created alongside her filmmaking partner Cecilia Peck.  As executive producer, showrunner, and editor, Inbal steered both shows towards nominations for Best Edited Documentary (Non-Theatrical) at the ACE Eddie Awards, nabbing a win for the latter. She was previously Eddie-nominated for her work on the "Can We All Get Along" episode of CNN's The Nineties (2017).

Inbal has worked in the cutting rooms of directors such as Davis Guggenheim, Nancy Schwartzman, R.J. Cutler, Kelly Duane, Tricia Regan, Jeremy Simmons, and Tracy Droz Tragos, as well as Natalie Portman's feature directorial debut. A member of the AFI Conservatory faculty, she has also been a Visiting Professor of Film Editing at UNCSA Film School and is a mentor in the Karen Schmeer Diversity in the Edit Room Program.

A multi-award nominated documentary editor with over a decade of experience in the edit suite, Ben has worked on projects for CNN, Peacock, ABC/Hulu, Viceland and MAX.  When he's not cutting docs, he's usually cutting up ingredients in the kitchen, perfecting his favorite dishes.

In our discussion with STORMY editors Inbal B. Lessner, ACE and Ben Kaplan, we talk about:

• Making the most of the Miro board
• "If you can't sum it up, you must cut it out".
• Motorboating your way to authenticity
• Deconstructing one documentary for another
• Stringing together the spine of the story

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TRUE DETECTIVE: NIGHT COUNTRY editors Mags, Brenna and Matt had never worked together prior to uniting under showrunner Issa López for the fourth season of the HBO MAX anthology series, but you wouldn't know it from talking to them.  The camaraderie between the three and the fun they have is in stark contrast to the dark and dangerous tone of their hit show.

TRUE DETECTIVE: NIGHT COUNTRY is set in the fictional town of Ennis, Alaska and follows the investigation behind the mysterious disappearance, and even more mysterious discovery, of eight men from a research station.  Leading the investigation are two law enforcement officers who share a troubled past, Detectives Liz Danvers (Jodie Foster) and Evangeline Navarro (Kali Reis).

Editor Matt Chessé, ACE often 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).  Matt also cut TRUE DETECTIVE: NIGHT COUNTRY star, Jodie Foster's film MONEY MONSTER (2016).

Mags Arnold entered the film industry in 1993 as a trainee sound editor, crossing over to picture editing as second assistant editor in 1994. She was promoted to first assistant editor in 1995, working on films such as HIGH FIDELITY (2000) and CAPTAIN CORELLI’S MANDOLIN (2001), both under celebrated editor Mick Audsley. Following her work as an assistant, Mags has cut shows such as WITCHER (2023) and BIG LITTLE LIES (2019).

Brenna is the lone editor on "Night Country" who has past experience with showrunner Issa López, working on the series BRITTANIA (2019) together.  Despite her cheerful demeanor, Bren could often be found in the cutting rooms of horror genre projects like STARVE ACRE (2023), FATHER OF FLIES (2021) and HOST (2020).

In our discussion with TRUE DETECTIVE: NIGHT COUNTRY editors Mags Arnold, Brenna Rangott and Matt Chessé, ACE, we talk about:

• Fun with field trips
• When the editor is the scene stealer
• Keeping things light when the story's so dark
• Playing the paranormal against the practical
• How "clumping" is better than cross cutting

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ANYONE BUT YOU editors Tia Nolan, ACE and Kim Boritz reunite and meet cute once again for a film that has been an absolute box office smash.  In an era where prevailing "wisdom" says that you can't get audiences out to the theaters for a romantic comedy, Tia and Kim's little 25M film has racked up over 200M worldwide!

Loosely based on Shakespeare's Much Ado About Nothing, ANYONE BUT YOU was directed by Will Gluck, who co-wrote the screenplay with Ilana Wolpert.  The film stars Glen Powell as Ben and Sydney Sweeney as Bea.  Despite having an amazing first date, Bea and Ben's initial attraction quickly turns sour.  When they unexpectedly find themselves at a destination wedding in Australia, the pair pretend to be the perfect couple to keep up appearances.

A seasoned editor in the world of comedies, Tia Nolan has cut such films as FRIENDS WITH BENEFITS (2011), HOW TO BE SINGLE (2016), I FEEL PRETTY (2018) and THUNDERFORCE (2021).  Tia's storytelling skills can also be found in the Marvel Cinematic Universe; as an editor on DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2021) and an additional editor on AVENGERS: INFINITY WAR (2019) and AVENGERS: ENDGAME (2022).

Prior to editing alongside Tia on ANYONE BUT YOU (2023) and THUNDERFORCE (2021), Kim sharpened her skills as an assistant on CAPTAIN MARVEL (2019), THE MEG (2018) and ROGUE ONE: A STAR WARS STORY (2016).

In our discussion with ANYONE BUT YOU editors Tia Nolan, ACE and Kim Boritz, we talk about:

• Surviving spiders
• Keeping your leads likeable through conflict
• Breaking the box office with a romcom
• Nailing down the needle drop
• The Richard Marks connection

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Although ARGYLLE editors Lee Smith ACE and Tom Harrison-Read have never worked together before, they do have a mutual connection in the Matthew Vaughn universe.  It was Eddie Hamilton ACE, Smith's co-editor on Vaughn's X-MEN: FIRST CLASS (2011) who recommended that Tom, his former assistant on MISSION: IMPOSSIBLE - ROGUE NATION (2015), join the cutting crew for ARGYLLE.  Alongside editor Col Goudie, Smith and Harrison-Read collaborated to realize Vaughn's vision for an action-comedy where the quips come as fast as the cuts.

Known for his work with directors such as Christopher Nolan, Sam Mendes and Peter Weir, Australia-native Lee Smith won an Oscar® and an ACE Eddie award for his work on Nolan's DUNKIRK (2018).  Smith also received Oscar® nominations for his work on MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (2004) and THE DARK KNIGHT (2009).

Prior to his work on ARGYLLE, Tom also edited such features as TOMB RAIDER (2018), IN DARKNESS (2018) and CHILDREN OF THE CORN (2020).  In addition to his work as an editor, Tom has worked as an assistant in the cutting rooms of such notable editors as Anne V. Coates, Kevin Tent ACE, Conrad Buff ACE, Eddie Hamilton ACE, Pietro Scalia ACE, Paul Machliss ACE, Chris Rouse ACE, Rick Pearson ACE and Matt Chessé ACE.

In our discussion with ARGYLLE editors Lee Smith, ACE and Tom Harrison-Read, we talk about:

• Revisiting Chaos
• Cary Grant...action hero?
• How fun wins every time
• A tentative approach to head stomping
• Putting your wrong foot forward

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ANATOMY OF A FALL editor Laurent Senechal has been working as an editor since the early 2000s and is well known for his collaborations with Oscar® nominees Justine Triet and Arthur Harari, collaborating with Justine four times (three narrative features, one documentary) and Harari five times (two narrative features including Onoda, 10,000 Nights in the Jungle, opening Un Certain Regard in Cannes 2021, and three shorts) over the course of his career.  For this latest film, Laurent had the pleasure of working with both Triet and Harari, with Justine as director and Arthur as co-writer.

ANATOMY OF A FALL tells the story of a celebrated writer who is put on trial when her husband falls to his death from their secluded chalet.  What starts as a murder investigation soon becomes a gripping journey into the depths of a destructive marriage.  The film premiered at the Cannes Film Festival in 2023, where it won the Palme d’Or.  Anatomy of a Fall also received Oscar® nominations for Best Picture, Best Director, Best Actress, and Best Original Screenplay, and won two Golden Globes for Best Non-English Language – Motion Picture and Best Screenplay.

After spending his entire school career in Africa (Congo, Chad, Benin), Laurent studied cinema at the University of Paris 8, where he met director Arthur Harari.  In addition to his Academy Award® for Best Film Editing nomination, he has been nominated for the BAFTA Award and the ACE Eddie for Best Editing, won the European Film Award for Best Editor, and won the Los Angeles Film Critics Association Award for Best Editing.  His other notable work includes Claire Burger’s comedy-drama film Real Love, which won Best Film in the Venice Days section at the 75th Venice International Film Festival in 2019, and Berni Goldblat’s drama film Wallay, which won the European Film Academy’s Young Audience Award in 2018.

In our discussion with ANATOMY OF A FALL editor Laurent Sénéchal, we talk about:

• Joining Justine
• Influencing the audience for unseen characters
• Turning a thriller into Kramer vs Kramer
• Putting a point of view on the flashbacks
• VFX for vomit

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The GRISELDA editing team of Joaquin Elizondo and Chris Cavanagh didn't have an easy time finding work when they first made their way to Hollywood, but through a mentor/mentee relationship built on a foundation of trust, they would eventually join forces on another drug war-themed Netflix show, NARCOS: MEXICO.  That NARCOS crew would go on to form the foundation of the team behind GRISELDA.

GRISELDA is directed by Andrés Baiz, produced by Eric Newman and Sofía Vergara, and written by Doug Miro and Ingrid Escajeda.  It stars Vergara as Griselda Blanco, a notorious Colombian drug lord.  The story follows her rise in the Miami drug scene and her pursuit of power and wealth.

Joaquin Elizondo has over 20 years of experience as an editor. He currently works in the world of scripted television shows in Hollywood. His most recent editing credits prior to Griselda include Narcos: Mexico (Netflix), The Hot Zone: Anthrax (NatGeo) and Dark Winds (AMC).  Before arriving in Los Angeles, Joaquin worked in unscripted television for several years in New York City. There he edited content for HBO Sports, NBC, Telemundo, and was the lead editor on Bravo’s late-night talk show Watch What Happens Live With Andy Cohen.  Joaquin majored in Film & Video Studies at the University of Michigan. He grew up in the San Diego-Tijuana border region where he began his career cutting a wide range of projects. They include news, promos, commercials, and documentaries.

In the last few years, Chris has been pursuing his passion for editing scripted stories.  Prior to his work on Griselda, Chris recently served as an editor on NARCOS: MEXICO Season 3 for NETFLIX.  Before that, he was editing as an assistant editor and mentored by top-shelf editors on COBRA KAI for NETFLIX, STAR TREK for PARAMOUNT+, and DARK WINDS for AMC.  Before moving to LA to work in scripted entertainment, Chris edited dozens of unscripted TV shows, documentaries, and indie films in NYC.  When he's not in a cutting room, Chris is playing with his two kids, cooking dinner with his wife, or attempting to complete one of the 7,942 daily tasks required to exist as both a professional and a parent in the 21st century.

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

• Not making NARCOS all over again
• Letting go of the facts to keep things fresh
• Real-time language translation before its time
• Making the most of mentorship
• Doing the director's cut during the assembly

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MR. AND MRS. SMITH editor, Greg O'Bryant was not just joining the biggest project of his career with this new Amazon series, but he would also be the "new guy" on a well-oiled machine of storytellers from the tv series, ATLANTA.  Taking the chance really paid off for Greg.  Not only did he get to try his hand at action, but he got to have his name in the credits twice (Greg also co-produced)!

Turning the premise of the 2005 feature film inside out, here John and Jane are two strangers-turned-partners who carry out their spy-like duties under the cover of being married software engineers.  Taking their orders from an unseen task master they call "HiHi", the two learn the ropes of being "Smiths" while learning to love, and somewhat trust, one another.

Prior to working on MR. AND MRS. SMITH, Greg first began his partnership with writer/director 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.  Most recently, the two collaborated on the Apple TV+ series, EXTRAPOLATIONS (2023).  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.

In our discussion with MR. AND MRS. SMITH editor, Greg O'Bryant, we talk about:

• Using score as your "tonal buoy"
• Turning the tables on the 2005 film of the same name
• Making a relationship sandwich
• How film is a director's medium where tv is a writer's medium
• Where a grumpy p.a. can influence the work

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Most of the VFX and editing team from Seth MacFarlane's Peacock original series TED should have known what they were in for when they signed on for the show.  Editor and assistant editor Tom Costantino ACE and Justin Ulrich had already been across the universe with MacFarlane for his cult sci-fi favorite, THE ORVILLE.  And VFX and puppeteering vet Blair Clark was the guy behind the bear for the TED feature films, as well as VFX Super for Seth's A MILLION WAYS TO DIE IN THE WEST (2014).  Newcomer Allie Mitchell was not only taking her first tour of duty with Seth, but she was also learning VXF and puppeteering on the job, relying on her background in dance and theater.  Together, the four brought a feature-level quality to Ted's reintroduction on the small screen.

Set in 1993, in between the opening sequence in the feature film, TED (2012), the series depicts the early life of a sentient teddy bear toy named Ted, as he lives with John Bennett and his family in Framingham, Massachusetts.  In addition to John and Ted, the Bennett household includes John's father Matty, his mother Susan, and his cousin, Blaire, who is living with them while attending a college nearby. Ted is soon forced to attend school with John, getting him bullied and in all sorts of trouble.

Editor Tom Costantino is known for his work on; 48 HOURS (2004-15), SCARRED (2007), CSI: MIAMI (2010-12), AMERICAN NINJA WARRIOR (2014-15), 9-1-1 (2018-19) and THE ORVILLE (2017-22).

VFX Supervisor and puppeteer, Blair Clark is known for his work on Seth MacFarlane's feature films, as well as HELLBOY (2004), THE SPIDERWICK CHRONICLES (2008) and CLIFFORD THE BIG RED DOG (2021).

Allie Mitchell is a singer/actor/dancer/silk aerialist/writer/yogi/vegan/brunette/dog-loving native of Austin, TX. Prior to plying her significant performance background in the world of VFX and puppeteering, Allie earned a BFA in Contemporary Musical Theatre and Film.

Aside from being the "secret VFX weapon" in the cutting room, Justin's assistant editing duties can be seen on HOUSE OF CARDS (2018), NOS4A2: GHOST (2019) and THE ORVILLE (2022).

In our discussion with the VFX and editing team from the series Ted, we talk about:

• Looking Back to the Features
• Stuffies and stunt stuffies
• Chrome balls, laser pointers and the trouble with eyelines
• Being a contortionist on set and in the cutting room
• How Stu the Key Grip saved the day

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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'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.

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

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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 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.

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

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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.

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).

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

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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 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.

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

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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.

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).

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

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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.

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).

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

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

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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.

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).

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

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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 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.”

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

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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.

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).

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.

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

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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.

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.

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.

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.

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

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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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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 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 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.

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

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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.

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.

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

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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.

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).

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).

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).

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

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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 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.

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).

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

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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.

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).

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).

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).

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

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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.

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).

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.

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).

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

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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. 

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

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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.

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).

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

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).

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

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

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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.

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 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).

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

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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.

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'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).

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

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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.

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).

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 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.

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.

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

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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.

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.

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).

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"!

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

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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'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).

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).

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

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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.

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

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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.

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

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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.

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)

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).

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).

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

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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 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)

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

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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 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.

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.

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.

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

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Hear Jason Ballantine talk about IT Chapter 2 and The Guilty

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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.

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).

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.

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

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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.

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.

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.

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

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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.

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

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

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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 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 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.

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 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.

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

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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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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 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.

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

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

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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 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).

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).

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

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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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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.

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).

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.

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.

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.

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

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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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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.

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

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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. 

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

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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.

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

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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 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.

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

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

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).

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

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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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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.

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).

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.

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

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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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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 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 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

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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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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.

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

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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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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.

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

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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.

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

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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.

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

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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.

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

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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.

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

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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.

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

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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.

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

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BABYLON editor Tom Cross, ACE first really made a name for himself working alongside director Damien Chazelle on their breakout film, WHIPLASH (2014).  Among the many accolades garnered by the film was Cross's Oscar® win for Best Film Editing.  Chazelle and Cross would follow that up with another hit movie, LA LA LAND (2016), for which Cross was again nominated for an Oscar®.  The two would team up yet again for FIRST MAN (2018), a biopic about astronaut Neil Armstrong.  Prior to rejoining Chazelle for BABYLON, Cross collaborated with editor Elliot Graham ACE to cut Daniel Craig's final turn as James Bond in, NO TIME TO DIE (2021).

Written and directed by Damien Chazelle, BABYLON features an ensemble cast that includes Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, Tobey Maguire and Li Jun Li. Its plot chronicles the rise and fall of multiple characters during an era of unbridled decadence and depravity in the late 1920's when Hollywood was transitioning from silent films to "talkies".

In our discussion with BABYLON editor Tom Cross, ACE we talk about:

• The actual workload of oners
• The science of silence
• The tightly integrated process between Tom and composer Justin Hurwitz
• SuperGroups for mastering musicals
• Tom's taste in toppings

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SPIRITED editor Brad Wilhite had plenty of experience cutting for laughs, but when you put it to music, that's a whole different story.  Brad didn't even like musicals before he took the job of cutting SPIRITED.  But with a little research and a little help from editorial angels like Myron Kerstein ACE, Tom Cross ACE and Debra Neil-Fisher ACE, Brad soon found the Christmas spirit in the cutting room.  Brad also reunited on SPIRITED with the writing/directing team of Sean Anders and John Morris, with whom Brad has worked on films such as; HORRIBLE BOSSES 2 (2014), DADDY'S HOME (2015), DADDY'S HOME 2 (2017) and INSTANT FAMILY (2018).

Starring Will Ferrell and Ryan Reynolds, SPIRITED is a modern retelling of Charles Dickens's 1843 novella A Christmas Carol and its various adaptations since. The Ghost of Christmas Present (Ferrell) is nearing retirement, which would mean a return to Earth. He sets his sights on an "unredeemable" man (Reynolds), a man who may end up helping the Ghost come to terms with his own past.

In our discussion with SPIRITED editor Brad Wilhite we talk about:

• The little "wins" you need to have when editing a musical
• Being comfortable "airing things out" in the cutting room
• Getting familiar with the other departments
• Editing video tap footage to kick things off
• The best gift you can give to an editor

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GLASS ONION editor Bob Ducsay ACE has forged a tight collaborative bond with director Rian Johnson, going back to their first film, LOOPER (2012).  And although GLASS ONION is only their fourth feature together, the quality of their work has 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.

[Purloined from the good folks at ROTTEN TOMATOES]  Benoit Blanc returns to peel back the layers in a new Rian Johnson whodunit. This fresh adventure finds the intrepid detective at a lavish private estate on a Greek island, but how and why he comes to be there is only the first of many puzzles. Blanc soon meets a distinctly disparate group of friends gathering at the invitation of billionaire Miles Bron for their yearly reunion. Among those on the guest list are Miles' former business partner Andi Brand, current Connecticut governor Claire Debella, cutting-edge scientist Lionel Toussaint, fashion designer and former model Birdie Jay and her conscientious assistant Peg, and influencer Duke Cody and his sidekick girlfriend Whiskey. As in all the best murder mysteries, each character harbors their own secrets, lies and motivations. When someone turns up dead, everyone is a suspect.

In our discussion with GLASS ONION editor Bob Ducsay ACE we talk about:

• Making mysteries with Rian Johnson
• Connecting with the details to make a better movie
• Winding the audience clock
• Dealing in double narratives
• Zooming with Sondheim

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PINOCCHIO editors Ken Schretzmann ACE and Holly Klein each have a background rich with experience in animation.  But while Ken's is in editing CGI-animated features like TOY STORY 3 (2010) and CARS (2006), Holly's earlier work was actually as an animator for TV shows such as BLUES CLUES and WONDER PETS!  Together they took on the roles of Animatic Editor (Ken) and Production Editor (Holly) to help tame the massive challenge of crafting a contemporary stop motion classic.

Academy Award-winning director Guillermo del Toro’s lifelong love of animation and the art of stop motion began when he was a child growing up in Guadalajara, Mexico.  By the age of eight, he had started shooting his own amateur stop motion films using his toys and a Super 8 camera that belonged to his father.  As a teenager, he began teaching Claymation classes and, in the process, came upon an idea that would find its way to fruition four decades later; a cinematic adaptation based on Gris Grimly's design from his 2002 edition of Carlo Collodi's 1883 Italian novel, The Adventures of Pinocchio.  Co-directed by del Toro and stop motion vet Mark Gustafson (in his feature directorial debut), the film stars the voices of Ewan McGregor, David Bradley, Gregory Mann, Burn Gorman, John Turturro, Ron Perlman, Finn Wolfhard, Cate Blanchett, Tim Blake Nelson, Christoph Waltz, and Tilda Swinton.

In our discussion with Ken and Holly, we talk about:

• Bringing leftovers into work
• Animating in the mistakes
• How you can’t rehearse fighting with a balloon
• Using green screen to buy the animators some time
• Table reads for scratch dialogue

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RRR editor A. Sreekar Prasad not only knows how to cut a great movie, he knows how to do it quickly when required.  But despite having a massive fourteen film credits to his name in 2022 alone, Sreekar's time on RRR was actually spread out over three years, with a constant cycle of cutting scenes and turning them over to VFX to accommodate for the huge role CGI played in bringing RRR to life.  In addition to RRR, A. Sreekar Prasad is known for his work on TALVAR (2015), DIL CHAHTA HAI (2001) and SHERSHAAH (2021).

RRR is a "Tollywood" (Telugu-language) film directed by S. S. Rajamouli, who co-wrote the film with V. Vijayendra Prasad. The film stars Ram Charan and N. T. Rama Rao Jr. as the real-life Indian revolutionaries, Alluri Sitarama Raju (Charan) and Komaram Bheem (Rama Rao).  The film imagines their friendship and fight against the British Raj in the 1920s, exploring the undocumented period in their lives when both revolutionaries chose to go into obscurity before they began the fight for their country.

In our discussion with RRR editor A. Sreekar Prasad, we talk about:

• Cutting in seventeen different languages
• Infusing the story into the songs
• Constantly turning over to VFX
• Keeping the target audience in mind
• Homebrew ADR

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THE BANSHEES OF INISHERIN editor Mikkel E.G. Nielsen, ACE makes his return to The Rough Cut, having previously appeared on the show to talk about the film that would land him an Oscar® for Best Film Editing, SOUND OF METAL (2020).  In addition to the delicate challenge of filling the void left by the passing of editor Jon Gregory, director Martin McDonagh's frequent collaborator in the cutting room, Mikkel was also tasked with a crafting a film that walked a fine line between comedy and drama in a way that only an Irish film could.

THE BANSHEES OF INISHERIN takes place in 1923, on the small fictional Irish isle of Inisherin during the Irish Civil War. Folk musician Colm Doherty abruptly begins ignoring his long-time friend and drinking buddy Pádraic Súilleabháin. Pádraic, though nice and well liked by the islanders, is too dull for Colm who wishes to spend the remainder of his life composing music and doing things that he will be remembered for. Pádraic's life is destabilized by the loss of one of his few friends; as Pádraic grows increasingly distressed at the rejection, Colm becomes more resistant to his old friend's attempts to speak to him. Colm eventually gives Pádraic an ultimatum: every time he bothers him or tries to talk with him, he will cut off one of his own left fingers with a pair of sheep shears.

In our discussion with THE BANSHEES OF INISHERIN editor Mikkel E.G. Nielsen, ACE we talk about:

• Barely talking to the director
• How less is more
• The award-worthy performance of Jenny the Donkey
• Adopting Barry Keoghan
• Going from Barbie Girl to Banshees

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BLACK ADAM editor, Mike Sale ACE is no stranger to the action comedy genre - emphasis on comedy.  With films to his credit such as; FORGETTING SARAH MARSHALL (2008), BRIDESMAIDS (2011), THE HANGOVER II (2011), WE’RE THE MILLERS (2013), CENTRAL INTELLIGENCE (2016), SKYSCRAPER (2018), SPENCER CONFIDENTIAL (2020) and RED NOTICE (2021), it should be obvious to anyone that Mike knows how to edit movies about cracking jokes and breaking bones.  But the latest entry in the DCEU marks Sale's first venture into comic book cinema.  Reunited for the fourth time with megastar Dwayne "The Rock" Johnson, Mike brought his signature editorial enthusiasm and aesthetic to BLACK ADAM.

The story of BLACK ADAM begins in ancient Kahndaq, where a man named Teth Adam was bestowed the almighty powers of the gods. After using these powers for vengeance, he was imprisoned, becoming Black Adam. Nearly 5,000 years have passed, and Black Adam has gone from man to myth to legend. Now free, his unique form of justice, born out of rage, is challenged by modern-day heroes who form the Justice Society: Hawkman, Dr. Fate, Atom Smasher and Cyclone.

In our discussion with BLACK ADAM editor, Mike Sale ACE, we talk about:

• How size matters in the editing suite
• Taking acting classes but staying away from actors
• Comedy, comedy, comedy, exposition, comedy
• Stephen King's secret weapon for editors
• Using "yacht rock" to make violence fun

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Friends and fellow American Film Institute vets, Matthew Gentile and Matt Allen, turned their long walks in Los Feliz into a collaborative indie filmmaking venture that would become their first project together, AMERICAN MURDERER.  Prior to this film, Matthew Gentile was biding his time as a script reader and making a name for himself directing short films. Meanwhile, ACE Eric Zumbrunnen Fellowship winner Matt Allen was racking up experience as an assistant, working with Oscar®-nominated editor Matt Chesse on features such as CHRISTOPHER ROBIN (2018).

Based on a true story, AMERICAN MURDERER follows Jason Derek Brown (Tom Pelphrey), a charismatic con man bankrolling his extravagant lifestyle through a series of scams. On Brown's trail: Lance Leising (Ryan Phillippe), a dogged FBI special agent determined to put Brown behind bars. When Brown's funds run low and his past catches up with him, he plots his most elaborate scheme yet, pitting himself against Leising in a deadly game of cat and mouse -- and becoming the most unlikely and elusive fugitive on the FBI's most-wanted list.

In our discussion with Matthew and Matt, we talk about:

• Finding your people in Hollywood
• Going from script reader to script writer
• The power of pre-vis for indie filmmaking
• Getting too big for your "shorts"
• Budgeting for kindness

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MAKING THE CUT AT PIXAR co-authors Bill Kinder and Bobbie O’Steen are experts in the field of post production. Kinder was the founding Director of Editorial and Post Production at Pixar from 1996–2014 and O’Steen is a teacher and film historian, specializing in editing, as well as the author of The Invisible Cut and Cut to the Chase.  Together they have created a multimedia "book" that guides readers on a journey through every stage of production on an animated film; from storyboards to virtual cameras and final animation.

With unprecedented access to the Pixar edit suite, this authoritative project highlights the central role film editors play in some of the most critically acclaimed and commercially successful movies of all time.  Featuring exclusive interviews with animation editors and other creative leads, MAKING THE CUT AT PIXAR includes nearly 90 minutes of video segments that include never-before-seen works in progress, deleted scenes and demonstrations; all of which shed light on how these beloved stories are crafted. The challenges and essential contributions of editors in animation have never before been examined in such depth and detail.

In addition to exploring method and craft, this book provides important context for the editor in film history, the evolution of technology, and Pixar’s uniquely collaborative studio culture.  A must-read for students of digital filmmaking methods, filmmakers in all aspects of production, and fans of Pixar movies, this uniquely educational, historical, and entertaining book sheds light on how beloved stories are crafted from the perspective of crucial members of the filmmaking team.

In our discussion with Bobbie and Bill, we talk about:

• The "big bang" of TOY STORY on the world of CGI Animation
• Editor Lee Unkrich introducing Avid editing into traditional animation
• How CGI "flipped the script" on the way editors impact the writing process
• The PIXAR origin story
• Sharpening your ear to make believable cuts

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WEREWOLF BY NIGHT'S Michael Giacchino and Jeffrey Ford have had many occasions to work together in the past, but never quite like this.  While WEREWOLF BY NIGHT is Michael's first time in the director's chair for Marvel Studios, he's been the composer on five of their features, two of which were also cut by Marvel stalwart, Jeffrey Ford.  However, this special presentation for Disney + marks their first time collaborating as director and editor.

WEREWOLF BY NIGHT begins after the death of legendary monster hunter, Ulysses Bloodstone.  Five experienced monster hunters are summoned by Ulysses' widow, Verussa, to Bloodstone Manor where they are instructed to participate in a competitive hunt to determine their new leader.  The object of their hunt is to retrieve the powerful Bloodstone from an unknown foe.

In addition to his work as composer on WEREWOLF BY NIGHT, Michael has also scored the Marvel features; DOCTOR STRANGE (2016), SPIDER-MAN: HOMECOMING (2017), SPIDER-MAN: FAR FROM HOME (2019), SPIDER-MAN: NO WAY HOME (2021) and THOR: LOVE AND THUNDER (2022).  Outside of the MCU, Michael's work can also be heard on; RATATOUILLE (2007) - for which he won an Oscar®, JURASSIC WORLD (2015) and Taika Waititi's upcoming feature, NEXT GOAL WINS (2023).

While Jeff Ford's career has been punctuated by the excellent work he has done in smaller projects such as; ONE HOUR PHOTO (2002), BLOODWORTH (2010) and THE COMEY RULE (2020), it is his impressive and unmatched roster of eleven MCU films (plus THE FALCON AND THE WINTER SOLDIER and WEREWOLF BY NIGHT for Disney+) for which he is most well known.

In our discussion with Michael and Jeffrey, we talk about:

• Honoring the horror films of the past
• The advantages of having the editor on set
• Brad Bird getting inside of your head
• The Easter eggs of Fireball Island
• How to transpose for a flaming tuba

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AMSTERDAM editor, Jay Cassidy ACE has cultivated an impressive career spanning almost fifty years and approximately sixty different projects.  Cassidy has worked extensively with directors such as David O. Russell and Sean Penn, as well as documentarian Davis Guggenheim.  Thrice-nominated for an Oscar for his work on Penn's INTO THE WILD (2008); as well as Russell's SILVER LININGS PLAYBOOK (2013) and AMERICAN HUSTLE (2014), Jay is not one to settle for status quo when it comes to making the most of technology in the editing room.  He continues to lean into new developments in hardware, software and color science for his craft.

AMSTERDAM is a 2022 period/mystery/comedy/thriller film directed, written, and produced by David O. Russell. It stars an ensemble cast, led by Christian Bale, Margot Robbie, and John David Washington; featuring Chris Rock, Anya Taylor-Joy, Zoe Saldaña, Mike Myers, Rami Malek, and Robert De Niro.  The film follows three friends—a doctor, a nurse and a lawyer—who are caught in the mysterious murder of a U.S. senator in the 1930's.  Filmed in Los Angeles from January to March 2021, AMSTERDAM marks Russell's first film since JOY (2015).

In our discussion with AMSTERDAM editor, Jay Cassidy ACE, we talk about:

• Balancing context setting and character development
• The benefits of monitoring in the DCI-P3 color space
• Working with actors in the cutting room
• Collaborating with Oscar®-caliber additional editors
• The world's most amazing microphone

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Listen to AMSTERDAM additional editor, Alan Baumgarten ACE discuss his work on THE TRIAL OF THE CHICAGO SEVEN

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For over twenty years editor Terilyn A. Shropshire ACE and director Gina Prince-Bythewood have worked hand-in-hand to entertain and inspire audiences with films dating back to Gina's directorial debut, LOVE & BASKETBALL (2000).  Following their hit action film, THE OLD GUARD (2020), Teri and Gina have joined forces once again to create an epic tale about the Agojie, a fierce sisterhood of African warriors who fought for the kingdom of Dahomey in the 1800s; with skills and a ferocity unlike anything the world has ever seen. Inspired by true events, THE WOMAN KING follows the emotionally epic journey of General Nanisca (Oscar®-winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life.

In our discussion with THE WOMAN KING editor, Terilyn A. Shropshire ACE, we talk about:

• Caring about characters to create better action
• "Getting it right" so studios will give the next generation a chance
• How to make an action movie "intimately epic"
• Staying away from temp score created by your composer
• Trusting your audience

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Director Doug Liman sat down with us at his NYC office in 2011 to discuss his early beginnings in the film business as well as his thoughts on; film school, editing and "making it" in Hollywood.

Doug Liman is known for directing the films; SWINGERS (1996), GO (1999), THE BOURNE IDENTITY (2002), MR. AND MRS. SMITH (2007), JUMPER (2008), FAIR GAME (2010), EDGE OF TOMORROW (2014), CHAOS WALKING (2021).

Doug is currently in production on a remake of the Patrick Swayze classic, ROAD HOUSE.  A sequel to EDGE OF TOMORROW is also rumored to be in the works.

In our discussion with director Doug Liman we talk about:

• Life before SWINGERS
• Whether anyone ever really "makes it" in Hollywood
• The merits of film school
• Knowing how to use an NLE vs knowing how to edit

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Listen to editor Doc Crotzer ACE talk about his work on the Doug Liman film, CHAOS WALKING

Hear SWINGERS and GO editor Stephen Mirrione ACE talk about cutting THE MIDNIGHT SKY

EDGE OF TOMORROW editor, Laura Jennings on editing MALEFICENT: MISTRESS OF EVIL

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With offices in; Los Angeles, Baton Rouge, Montreal, Atlanta, New York City and Vancouver, Crafty Apes is a full-service visual effects company. Beginning as a VFX studio for film and TV, Crafty Apes has grown to include a talented roster of creative and production supervisors that offer set supervision, VFX consultation and high-end CG and previsualization services.  Their cinematic work can be seen in such films as; WHERE THE CRAWDADS SING (2022), DR. STRANGE IN THE MULTIVERSE OF MADNESS (2022), THE BATMAN (2022), GHOSTBUSTERS AFTERLIFE (2021), LICORICE PIZZA (2021) and SPIDER-MAN: NO WAY HOME (2021).  The work of Crafty Apes also features heavily in TV/Streamer shows like; STRANGER THINGS, THE ORVILLE, MOON KNIGHT, PEACEMAKER,  STAR TREK: DISCOVERY and COBRA-KAI.

Sarah has worked as a VFX Producer on; WHERE THE CRAWDADS SINGS (2022), OUR KIND OF PEOPLE (2022), RAY DONOVAN (2019-20), COBRA-KAI (2019) and a VFX Coordinator on HOMELAND (2016-17), SANTA CLARITA DIET (2017) and TRUE DETECTIVE (2014).

Kolby's work as VFX Supervisor can be seen in; WHERE THE CRAWDADS SING (2022), HIGHTOWN (2021) and BLACK LIGHTNING (2019-20).  He has also served as Compositor on NOBODY (2021), PENNYWORTH (2019) and THE ORVILLE (2019).

In our discussion with the Sarah McCulley and Kolby Kember of Crafty Apes, we talk about:

• The major phases of VFX
• Different roles within the VFX process
• Where communication begins between production and VFX
• How VFX in television compares to feature film
• How to cut corners without cutting quality

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THIRTEEN LIVES editor James D. Wilcox joins the Rough Cut to talk about cutting Ron Howard's latest film.  James first collaborated with Howard on the series, Genius, and received an ACE Eddie award for his work on the episode, "Einstein - Chapter 1".  From there, James would do another episode of Genius ("Aretha"), as well as cutting Howard's adaptation of the J.D. Vance book, HILBILLY ELEGY; which would be Wilcox's first feature editing job.  Unlike most feature editors who started their journey in post as an assistant, James actually started out as an editor, but working in news and sports.  This experience proved invaluable to him later in his career when he started cutting scripted shows and features.

THIRTEEN LIVES recounts the incredible true story of the tremendous global effort to rescue a Thai soccer team who become trapped in the Tham Luang cave during an unexpected rainstorm. Faced with insurmountable odds, a team of the world's most skilled and experienced divers -- uniquely able to navigate the maze of flooded, narrow cave tunnels -- join with Thai forces and more than 10,000 volunteers to attempt a harrowing rescue of the twelve boys and their coach. With impossibly high stakes and the entire world watching, the group embarks on their most challenging dive yet, showcasing the limitlessness of the human spirit in the process.

In our discussion with THIRTEEN LIVES editor, James D. Wilcox we talk about:

• The evolution of his collaboration with director, Ron Howard
• Cutting in a language you don't speak
• Maintaining the scale and geography for the audience
• Creating tension with an underwater soundscape
• Winding an unseen clock

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BODIES BODIES BODIES editors Julia Bloch and Taylor Levy combined their editorial talents, albeit not always at the same time, to craft a sly and satirical take on the horror genre.  Although the two NYC-based editors had never (really) met before, each had a few "prerequisite" genre films to their credits and that experience served them well in the cozy confines of their shared cutting room.

The film's distributor, A24, describes the plot of BODIES BODIES BODIES as such; When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong.

Julia Bloch has edited such films as; Chaos Walking (2021), His House (2020), Hold the Dark (2018), The Wall (2017), Green Room (2015) and Blue Ruin (2013).

Editor Taylor Levy's work can be seen in; Mona Lisa and the Blood Moon (2021), Prisoners of the Ghostland (2021), Drunk Bus (2020) and Yellow Rose (2019).  He also assisted on the critically-acclaimed film, Manchester-by-the-Sea (2016).

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

• Finding the right tone between comedy, horror and satire
• Using sound to help the audience with geography
• Handing off a film from one editor to another
• The tight-knit filmmaking community of New York City
• Knowing when a joke or a scare is working

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PAPER GIRLS editors Rob Komatsu and Emily Greene make their triumphant return to THE ROUGH CUT, having previously visited to discuss their work on the FX/HULU series, MRS. AMERICA (2020).  Although Ivan Victor and Jennifer Barbot are joining the podcast for the first time, both editors bring with them a wealth of tv editing experience in documentary/reality, comedy, sci-fi and drama.

PAPER GIRLS follows four young girls who, while out delivering papers during the dark morning hours after Halloween in 1988, become unwittingly caught in a conflict between warring factions of time-travelers, sending them on an adventure through time that will save the world. As they travel between time periods, they encounter future versions of themselves and must choose to embrace or reject their fate.  It is based on the 2015–2019 comic book series of the same name written by Brian K. Vaughan and illustrated by Cliff Chiang.

Editor Rob Komatsu is know for his work on; AMERICAN HORROR STORY (2011), HALT AND CATCH FIRE (2014-17), THE X-FILES (2016-18) and MRS. AMERICA (2020).

The work of editor Emily Greene can be found in; THE BLACKLIST (2015-17), AMERICAN CRIME STORY (2018), MRS. AMERICA (2020) and FOUNDATION (2021).

Editor Ivan Victor has edited such tv series as; PARKS AND RECREATION (2009-12), THE GOLDBERGS (2013-14), LODGE 49 (2018-19) and KEVIN CAN F**K HIMSELF (2021).

Editor Jennifer Barbot's work can be seen in; UGLY BETTY (2007-10), JESSICA JONES (2018), THE MAN IN THE HIGH CASTLE (2019) and RAISED BY WOLVES (2020).

In our discussion with the editors of PAPER GIRLS, we talk about:

• Finding time to explore the characters between the sci-fi set pieces
• Building a killer robot battle
• To keyframe or to not keyframe
• Running ADR over Zoom
• Using less score for bigger impact

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Hear Rob Komatsu and Emily Greene talk about their work on MRS. AMERICA

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BULLET TRAIN editor and Iceland native Elísabet Ronaldsdóttir is widely known for her work on high-adrenaline action films such as JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018) and Marvel's SHANG CHI AND THE LEGEND OF THE TEN RINGS (2021); the first three of which were helmed by BULLET TRAIN director, David Leitch.

Based on the Japanese novel Maria Beetle (published in English as Bullet Train) by Kōtarō Isaka, the film tells the story of Ladybug (Brad Pitt), a trained killer who wants to give up the life but is pulled back in by his handler Maria Beetle (Sandra Bullock).  His mission is to collect a briefcase on a bullet train heading from Tokyo to Kyoto with only a few stops in between.  Onboard the train, he and other competing assassins discover their objectives are all connected.  The question becomes, who will make it off the train alive and what awaits them at the terminal station?

In our discussion with BULLET TRAIN editor, Elísabet Ronaldsdóttir we talk about:

• Working with a director who is also a stunt coordinator
• Jumping right into the action and saving the exposition for later
• Teaching a class in action editing
• Editing action in claustrophobic confines

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THE ORVILLE: NEW HORIZONS editors Tom Costantino and Hillary Wills forged their future working relationship on the bridge of The Orville itself.  After not so subtly stalking Tom, who had already cut Season One, Hillary expressed her desire to join the Planetary Union as its newest assistant editor.  Being the master of understatement that he is, Tom casually said to Hillary, "job's yours if you want it".  Along with the rest of the editorial team, the pair would go on to collaborate on Season Two of the show (its last on Fox Television) and the third season for Hulu, dubbed "THE ORVILLE: NEW HORIZONS".

Created by and starring Seth Macfarlane as series protagonist Ed Mercer, an officer in the Planetary Union's line of exploratory space vessels in the 25th century, THE ORVILLE is set on the titular spacecraft: USS Orville (ECV-197), a mid-level exploratory vessel for the Planetary Union. The show consists of adventures encountered by the ship's crew, usually involving planet exploration and visits to various parts of the galaxy.

Editor Tom Costantino is known for his work on; 48 HOURS (2004-2015), SCARRED (2007), CSI: MIAMI (2010-2012), AMERICAN NINJA WARRIOR (2014-2015) and 9-1-1 (2018-2019).

Assistant Editor / Editor Hillary Wills has worked on such projects as; CALL 911 (2009), VANISHED WITH BETH HOLLOWAY (2011), THE BRIEFCASE (2015) and THE NIGHT SHIFT (2016-2017).

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

• Navigating the change between network tv and streaming
• Seth Macfarlane....audio post professional
• Taking temp effects to the limit
• Working with a 75-piece, excuse me, 90-piece orchestra
• Advice on moving up from assistant to editor

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NOPE editor Nicholas Monsour has been collaborating with writer/director Jordan Peele since their days together on the comedy sketch tv series KEY & PEELE (2015).   When the comedy team took their talents to the big screen with the Peele-penned feature, KEANU (2016), Monsour knew it would be a big leap for him to take on the editorial duties, but made his best pitch anyway.  The bet paid off and Nick found himself behind the Avid for his very first feature film.  Peele would reach out to Nick once again for his sophomore film directing venture, US (2019).  Prior to reteaming with Peele for US, Nick continued to refine his cutting chops on tv series such as; BROCKMIRE (2017), COBRA KAI (2018) and WHISKEY CAVALIER (2019).

NOPE was written, directed, and co-produced by Jordan Peele under his Monkeypaw Productions banner.  It stars Daniel Kaluuya, Keke Palmer, Steven Yeun, Brandon Perea and Michael Wincott.  In the film, two ranch-owning siblings, with the help of a tech salesman and a renowned cinematographer, attempt to capture and sell video evidence of an unidentified flying object.

In our discussion with NOPE editor, Nicholas Monsour we talk about:

• His incubator post process at Universal
• Not sacrificing tone in favor of tempo
• Jaws meets The Wizard of Oz
• The anatomy of a "social" thriller
• The impact of IMAX on NOPE

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LUCY AND DESI's Robert A. Martinez has built a career working as an assistant editor and editor on documentary films like; THE BEATLES: EIGHT DAYS A WEEK - THE TOURING YEARS (206), THE APOLLO (2019), PAVAROTTI (2019) and THE BEE GEES: HOW DO YOU MEND A BROKEN HEART (2020), for which Robert received an ACE Eddie nomination.  All of these projects were great preparation for LUCY AND DESI, for which Robert has received an Emmy nomination.

From director Amy Poehler, LUCY AND DESI explores the unlikely partnership and enduring legacy of one of the most prolific power couples in entertainment history. Lucille Ball and Desi Arnaz risked everything to be together.  When Lucille was finally granted the opportunity to have her own television show, she insisted that her real-life spouse, Desi, be cast as her husband. Defying the odds, they re-invented the medium, on the screen and behind the cameras. The foundation of I LOVE LUCY was the constant rupture and repair of unconditional love. What Lucy and Desi couldn’t make work with each other, they gave to the rest of the world. LUCY AND DESI is an insightful and intimate peek behind the curtain of these two remarkable trailblazers – featuring interviews with Lucie Arnaz Luckinbill, Norman Lear, Desi Arnaz Jr, Carol Burnett and Bette Midler.

In our discussion with editor, Robert A. Martinez we talk about:

• Building a doc around newly discovered, private audio tapes of the pair
• The relationship between writer and editor on a documentary
• Telling the story through the voices of Lucy and Desi
• The power of ScriptSync in documentary editing
• Making the jump from janitor to editor

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ELVIS editors Matt Villa and Jonathan "Jono" Redmond are no strangers to director Baz Luhrmann's unique style of cinema.  For that matter, neither is Sound Designer and Re-recording mixer, Wayne Pashley.   Matt and Jono first worked together on MOULIN ROUGE! (2001) with Jono serving as 1st assistant editor and Matt doing VFX editing.  Wayne Pashley goes all the way back with Baz Luhrmann to Baz's first film, STRCITLY BALLROOM (1992).  But it was Luhrmann's THE GREAT GATSBY (2013) where Matt, Jono and Wayne first worked together on a film for the acclaimed Aussie director.

Delivered in Luhrmann's trademark style of lush soundscapes and rich, high-energy visuals, ELVIS is told through the voice of  Elvis Presley's former manager, "Colonel Tom Parker".  While on his deathbed in 1997, Parker recalls how he discovered the future King of Rock and Roll and chronicles their time together throughout Elvis' ascension to icon status, as well as the downward spiral that ultimately led to Presley's death in 1977.

Matt Villa is known for PREDESTINATION (2014), The Great Gatsby (2013) and The Lego Batman Movie (2017).

Jono Redmond is known for his work as 1st assistant editor (digital) for MOULIN ROUGE! (2001) and editor for THE GREAT GATSBY (2013) and THE GET DOWN (2016-17).

Wayne Pashley is known for Mad Max: Fury Road (2015), The Great Gatsby (2013) and Daybreakers (2009).

In our discussion with the ELVIS editors we talk about:

• Keeping it moving, keeping it transitional
• Protecting the king at all costs
• The three different voices of Elvis from the 50's, 60's and 70's
• Cutting concert performances compared to cutting the narrative
• Applying the "poetic glue"

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The STRANGER THINGS editing team reunites once again to chronicle the fantasy/horror phenomenon taking place in Hawkins, Indiana; this time with a greater emphasis on the horror.  Although there was a longer break than usual between the two seasons, this tight knit team was never far apart, collaborating on the feature films, FREE GUY and THE ADAM PROJECT.

Season Four of STRANGER THINGS is set in March 1986, eight months after events of the third season, the fourth season is split between different plotlines.  The first plotline takes place in Hawkins, where several teenagers are killed in mysterious ways.  The second plotline involves Mike Wheeler visiting Eleven, Will and Jonathan Byers at their new home in California.  The third plotline follows Joyce Byers and Murray Bauman, who learn that Jim Hopper may still be alive and are told to bring money to arrange for his transfer home from a Russian prison.

In addition to working with the Duffer Brothers as their lead editor for STRANGER THINGS, Dean is a frequent collaborator with STRANGER THINGS director and longtime friend, Shawn Levy.  The two have been working together for over twenty years on projects like the NIGHT AT THE MUSEUM franchise, FREE GUY and THE ADAM PROJECT.

Kat started her journey on Season 1 as an assistant, but over the following seasons started picking up full time editorial duties as well.  She also assisted Dean on his features, THE ADAM PROJECT and FREE GUY.  Earlier in her career, Kat assisted on HALT AND CATCH FIRE and served as post coordinator on ONE TREE HILL.

Casey started on STRANGER THINGS in season one as a post coordinator and then in subsequent seasons moved into assistant editing. For Season Four Casey has multiple additional editing credits. Like Kat, Casey assisted Dean on FREE GUY and THE ADAM PROJECT as well.

VFX editor Brad Tobler joined the STRANGER THINGS team in Season Three and also helped out Dean as VFX editor on FREE GUY, as well as pre-vis editor on THE ADAM PROJECT.

In our discussion with the STRANGER THINGS - SEASON 4 editing team we talk about:

• Ramping up the VFX workload
• Reasons for, and benefits of, splitting the season into two parts
• Creating the voice of Vecna
• Developing a "flashback" tracker
• Breaking the show out into multiple storylines

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Watch VFX Editor Brad Tobler walk you through the VFX process on Stranger Things

See the STRANGER THINGS picture editing and sound team discuss Season Three

Heat the O.G. interview with Dean Zimmerman ACE from 2019

Editor Dean Zimmerman ACE discusses FREE GUY

Jonathan Corn and Dean Zimmerman ACE on cutting THE ADAM PROJECT

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CHERNOBYL: THE LOST TAPES editor Rupert Houseman is a documentary and drama editor known for his work on; RIOTS: ONE WEEK IN AUGUST (2021), GUN NO. 6 (2018), 7/7: ONE DAY IN LONDON (2013), BEDLAM (2014), LIFE AND DEATH ROW (2014), THE DETECTIVES (2015), THE WATCHMAN (2016) and UNSPEAKABLE (2017).  In 2019 Rupert received a BAFTA award for his editing on GUN NO. 6.

CHERNOBYL: THE LOST TAPES tells the full, unadulterated true story of what happened in one of the most iconic but least understood tragedies of the twentieth century.  While radio programs and scripted dramas have all told their version of events, no-one has ever made a documentary that reveals the full, shocking reality of this cataclysmic, world changing event – until now.  Using both a recently discovered hoard of dramatic footage filmed at the nuclear plant during the disaster, as well as newly-recorded, deeply personal interviews of those who were there, the film shows how Chernobyl and the cover-up that followed sparked unprecedented distrust in the authorities and gave birth to a protest movement in Ukraine which would eventually lead to the collapse of the Soviet Union.

In our discussion with editor, Rupert Houseman we talk about:

• Recovering and converting Soviet-era propaganda footage
• Breaking away from the traditional treatment of talking heads
• Editing footage in a language foreign to your own
• Having fun with aspect ratios
• Getting sound design advice from Bob Geldof

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JURASSIC WORLD: DOMINION editor Mark Sanger ACE, BFE not only faced the challenge of editing a big action blockbuster, but also a film that was; a sequel to JURASSIC WORLD: FALLEN KINGDOM (2018), the sixth installment in the Jurassic Park franchise, the third and final film in the Jurassic World trilogy, and the conclusion to the storyline started in the original Jurassic Park trilogy.  Thankfully, Mark had plenty of experience working on big action franchise films.  Mark began his career as an assistant working on Bond films like ;TOMORROW NEVER DIES (1997) and THE WORLD IS NOT ENOUGH (1999), and also director Stephen Sommers' THE MUMMY (1999) and THE MUMMY RETURNS (2001).  As a lead editor, Mark helmed the Avid for TRANSFORMERS: THE LAST KNIGHT (2017), MOWGLI: LEGEND OF THE JUNGLE (2018) and POKÉMON: DETECTIVE PIKACHU (2019).  Amongst all these big films, the critical highlight of his career would come in 2014, when Mark would win the Oscar for Best Film Editing for his work on GRAVITY (2013).

The plot of JURASSIC WORLD: DOMINION is this...Four years after the cataclysmic volcanic eruption on Isla Nublar and the Lockwood Estate incident, de-extinct dinosaurs freely roam the earth, causing environmental upheaval and human deaths. With government approval, Biosyn Genetics has established a dinosaur sanctuary in Italy's Dolomite Mountains where they conduct genomics research, ostensibly seeking groundbreaking pharmacological and agronomic applications.  The film stars an ensemble cast including Chris Pratt, Bryce Dallas Howard, Laura Dern, Jeff Goldblum, Sam Neill, DeWanda Wise, Mamoudou Athie, BD Wong, and Omar Sy.  Dern, Goldblum, and Neill reprise their roles from the Jurassic Park trilogy, appearing together for the first time since the 1993 film JURASSIC PARK.

In our discussion with editor Mark Sanger ACE, BFE we talk about:

• The 2nd director side hustle
• Working with animatronics versus VFX
• Presenting a proper prologue
• Starting with silence in your edit
• Listening, learning and speaking up!

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Editors Jeff Seibenick, Andrew S. Eisen ACE, Dylan Firshein and Dana E. Glauberman ACE got the band back together from Season One of THE MANDALORIAN to help tell the story of the legendary bounty hunter, Boba Fett.

THE BOOK OF BOBA FETT follows bounty hunter Boba Fett, from THE MANDALORIAN and the STAR WARS feature films, as he establishes himself as the new crime lord of Jabba the Hutt's former territory on the planet Tatooine.

In addition to his work on the Star Wars shows for Disney+, Jeff has a background rich in comedy tv editing.  You can see his work on series such as; PARKS AND RECREATION, EASTBOUND & DOWN and VICE PRINCIPALS.

Considering the cinematic approach the editing team applies to THE MANDALORIAN and THE BOOK OF BOBA FETT, it’s no surprise to see Andrew’s name in the credits of big sci-fi / action films like TRANSFORMERS: AGE OF EXTINCTION and THE GUARDIANS OF THE GALAXY VOL 2.

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.

While THE MANDALORIAN and THE BOOK OF BOBA FETT are the projects that helped establish Dylan as a lead editor, he has also assisted on features like SOLO: A STAR WARS STORY, THE CLOVERFIELD PARADOX and tv series such as GREY'S ANATOMY.

In our discussion with THE BOOK OF BOBA FETT editing team of Jeff Seibenick, Andrew S. Eisen ACE, Dylan Firshein and Dana E. Glauberman ACE , we talk about:

• Making a stylistic departure from what we know of THE MANDALORIAN
• Find the performance of characters behind a mask
• Breathing life into a gun duel
• The challenge of deep fake editing
• Working with the relentless Robert Rodriguez

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

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

Editor Dana E. Glauberman ACE on cutting Ghostbusters: Afterlife

A New Hope editor, Paul Hirsch ACE on turning a Camaro into Vader’s TIE fighter

The Empire Strikes Back editor, Paul Hirsch ACE reflects on the film forty years later

Hear editor Bob Ducsay talk about cutting The Last Jedi

Listen to Maryann Brandon ACE talk about her work on The Force Awakens and The Rise of Skywalker

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David Hunter Jr., Host of POST IN BLACK, and his brother Daniel Hunter, Founder of POST IN BLACK, joined forces with Executive Producer Tatiana Johnson to create a podcast that has quickly caught fire amongst the film and tv post community.  In featuring African American creative professionals working in the world of media and entertainment, their mission is to reach out to a new generation who may not be aware that a variety of career opportunities exist for them not just in front of the camera, but behind the lens as well.  In this special edition of The Rough Cut, David and Daniel not only give us the scoop on "the guys behind the podcast", but also some new perspectives on the lack of diversity in the industry today.

David Hunter Jr. is an actor, writer and producer born in Washington DC and raised in the surrounding Metro Area. His acting training began on the stage at Hampton University, a prestigious HBCU located in Hampton, Virginia. From there, David performed on stage in DC performing at the Historic Lincoln Theatre, Atlas Theatre and the DC Improv where he performed monthly with a local improv troupe.

Since relocating to LA, David has voiced campaigns for Blavity, Google, Samsung along with a variety of Commercials and animated projects. He also served as the "Voice of God" for the theatre staff at the Dolby Theatre (formerly Kodak) for the Oscars for over 10 years.

In 2016, David's versatility shined bright as he created, co-wrote and starred in the Web Series, "The Process". The series had 2 seasons and aired on numerous streaming platforms.

In 2018, David auditioned for and was accepted into the inaugural class of the Los Angeles branch of the award-winning Identity School of Acting. While there, he was nominated for Best Actor in his group's showcase.

The ability to create has allowed David to make a lane for himself that lets others see him as more than just an actor. This lead to David starting his own production company, Made For More Entertainment. Underneath the Umbrella of Made For More, David hosts a popular Podcast / Web Series called "Post In Black". This podcast highlights the work of African Americans working behind the scenes in Post Production with guests including the likes of Terilyn Shropshire (Jumping The Broom, When They See Us, The Old Guard) and Daysha Broadway (The Forty Year-Old Version, Insecure, A Black Lady Sketch Show)

David has a genuine love for kids and performed Children's Theatre in the LA area for LAUSD for over 8 years with the theatre company, Enrichment Works. He has also worked as an elementary school teacher for 1st and 2nd grade as well as a middle school teacher for 6th, 7th and 8th grade. He loves to give back to the youth through the arts as well as one-on-one mentorship.

When he's not doing his full time job of being David Hunter Jr.'s brother, Philadelphia-based Daniel works as both a sound postproduction professional as well as a driving force behind POST IN BLACK.

In our discussion with David Hunter Jr. and Daniel Hunter, we talk about:

• How you can't desire something you weren't aware of
• That winding road from school teacher, to tour guide, to actor, to...
• The time-tested approach of "thinking globally and acting locally"
• Sound design being just like music composing with sound effects
• The importance of above the line talent crediting their crews

Celebrate Black excellence behind the lens by visiting POST IN BLACK.

Be sure to check out MADE FOR MORE ENTERTAINMENT too

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The plot of OZARK is built around financial advisor Marty Byrde (Jason Bateman) who, after a money laundering scheme for a Mexican drug cartel goes wrong, proposes to make amends by offering to set up a bigger laundering operation in the Lake of the Ozarks region of central Missouri. Marty suddenly moves his family from the Chicago suburb of Naperville to the remote summer resort community of Osage Beach, Missouri.  When the Byrdes arrive in Missouri, they become entangled with local criminals, including the Langmore and Snell families, and later the Kansas City Mafia.

In our discussion with OZARK editor, Vikash Patel we talk about:

• Working with directors who are new to a series
• Living in two-shots and wide shots to let the performances play out
• How premieres and finales differ from other episodes
• Jason Bateman's interaction with post while producing, directing and starring in OZARK
• What Viks will take away from his experience on OZARK

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TOP GUN: MAVERICK 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 I (2023) and II (2024).  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today.

TOP GUN: MAVERICK stars Tom Cruise, reprising his role as Captain Pete "Maverick" Mitchell from TOP GUN (1986).  The story follows Maverick's return to the United States Navy Strike Fighter Tactics Instructor program (also known as "Top Gun") where he must confront his past as he trains a group of younger fighter pilots, among them the son of Maverick's deceased best friend Goose.

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

• Serving the audience broccoli before the brownie
• Referencing the incredible sound design from the original Top Gun
• Hitting the emotional notes for Tom Cruise
• Wrangling over 800 hours of footage
• How to build a better dogfight

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Hear Eddie talk about his work on Mission Impossible: Fallout

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THE PENTAVERATE editors, Joseph Krings ACE and Jasmin Way, first met when Jasmin assisted Joe on the indie feature, THE REBEL IN THE RYE (2017); a biopic about reclusive author J.D. Salinger.  Joe was so impressed with the way that Jasmin cut scenes for that film that he knew she was the right choice to join him as co-editor on Myers' new comedy series.

THE PENTAVERATE was created by Mike Myers for Netflix and features Myers playing eight different parts throughout the six-episode series.  Initially mentioned in Myers' film, SO I MARRIED AN AXE MURDERER (1993), THE PENTAVERATE is about a Canadian journalist who tries to uncover the truth about a secret society of five men who have controlled the world since 1347.

Joe Krings began his career as a commercial editor in New York City, but quickly grew restless knowing that his real passion was for long form film and television projects.  One of Joe's earliest films was a documentary called SUPERMENSCH (2013), helmed by THE PENTAVERATE creator, Mike Myers.  From there Joe would go on to make a name for himself with the dramedy feature, CAPTAIN FANTASTIC (2016) and indie films such as the aforementioned THE REBEL IN THE RYE (2017) and Sundance stand-outs, AFTER THE WEDDING (2019) and THE EVENING HOUR (2020).

Jasmin Way is a New York-based film and television editor. Her first feature, SOLACE (2018) premiered at the Los Angeles Film Festival and won Best Ensemble Cast. Her second documentary feature was the critically-acclaimed THIS CHANGES EVERYTHING (2018) about the history of women in film behind the scenes and in front of the camera. It premiered at the Toronto Film Festival and was the runner-up for the People's Choice award. In addition to her work on THE PENTAVERATE, Jasmin also worked as an editor on the latest season of David Letterman's MY NEXT GUEST NEEDS NO INTRODUCTION (2022).

In our discussion with THE PENTAVERATE editors Joseph Krings ACE and Jasmin Way, we talk about:

• The challenge of editing a show where one actor plays eight characters
• Incorporating Netflix's revolutionary "Fix Plix" technology
• Cutting out profanity to increase the vulgarity
• The importance of diction in comedy
• Why you should never follow up an orgy scene with a shot of children

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RUSSIAN DOLL editor, Todd Downing ACE returns to THE ROUGH CUT, having appeared previously in 2020 to talk about his work on the HULU series, MRS. AMERICA.  In that series, one of Todd's many standout moments was a sequence he cut that featured a conservative 70's housewife going on a drug-fueled, psychedelic trip at the National Women's Conference.  Todd also had a similar episode in the work he did on the series DIFFICULT PEOPLE, on Hulu as well.  Put those two together with the mind-bending journeys Todd navigates on RUSSIAN DOLL and you start to see that Todd Downing has carved out quite a niche for himself as the "go to" editor for shows that feature women going on existential and introspective adventures.

Season 1 of RUSSIAN DOLL tells the story of a woman named Nadia who is caught in a time loop as the guest of honor at a seemingly inescapable birthday party one night in New York City. She dies repeatedly, always restarting at the same moment at the party.  As she tries to figure out what is happening to her, she meets a man who is experiencing the same thing in a different event.

In Season 2, Nadia is ten days away from celebrating her 40th  birthday when the NYC "6" Train sends her back in time to 1982. She soon discovers she is trapped inside the body of her mother, Lenora, who is pregnant with Nadia.  Having learned what a significant impact it had on her family,  Nadia decides to pursue the gold Krugerrands her mother lost that same year, in hopes of changing the course of her family’s history.

In our discussion with RUSSIAN DOLL editor, Todd Downing ACE we talk about:

• Riding the wave of comedy vs drama within a show
• The kind of notes you get from a showrunner who is also the star
• Managing the story logic of characters looping through time and inhabiting other characters
• Natasha's Extraordinary Playlist
• Dealing with VFX "supply chain" issues

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Hear Todd's interview with fellow ACE editors, Emily E. Greene and Robert Komatusu for MRS. AMERICA.

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In creating DR. STRANGE IN THE MULTIVERSE OF MADNESS, editor Tia Nolan ACE and editor Bob Murawski ACE (along with director Sam Raimi) created a film that not only stands on its own, but also picks things up where other MCU projects previously left off.  WANDAVISION, SPIDER-MAN: NO WAY HOME and the Disney+ series, LOKI all served to introduce the concept of the multiverse to Marvel fans.  And in the case of WANDAVISION and SPIDER-MAN: NO WAY HOME, put Dr. Strange and Wanda Maximoff on a collision course for the events that take place in Multiverse of Madness.

DR. STRANGE IN THE MULTIVERSE OF MADNESS is the sequel to DOCTOR STRANGE (2016) and the 28th film in the Marvel Cinematic Universe. The film was directed by Sam Raimi, written by Michael Waldron, and stars Benedict Cumberbatch as Stephen Strange, alongside Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez, Michael Stuhlbarg, and Rachel McAdams. In the film, Strange travels into the Multiverse to protect America Chavez (Gomez), a young girl capable of travelling the Multiverse, from Wanda Maximoff (Olsen).

In our discussion with editor Tia Nolan, we talk about:

• Making a "rock witch goddess" with Danny Elfman
• Doing your Marvel "homework"
• How to manage a multiverse in editorial
• How Sam Raimi distinguishes between "clangs"
• Lessons learned from legendary editor, Richard Marks ACE

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Marvel's MOON KNIGHT editing team brought together their diverse background of experiences and talents to deliver a truly new take on what a superhero series can be.  Working together for the first time, they overcame the challenge of collaborating over great distances, with editor Joan Sobel working from home in Los Angeles and editors Ahmed Hafez and Cedric Nairn-Smith both in Budapest, but still mostly separate from one another.

MOON KNIGHT follows Steven Grant, a mild-mannered gift-shop employee, who becomes plagued with blackouts and memories of another life.  Through those visions, Steven discovers he has dissociative identity disorder and shares a body with a mercenary named Marc Spector. As Steven/Marc's enemies converge upon them, they must navigate their complex identities while thrust into a deadly mystery among the powerful gods of Egypt.

With an extensive career spanning more than 20 years full of local and international works in the film industry, Egyptian film editor Ahmed Hafez has presented the final cuts of over 20 films and edited numerous TV commercials and music videos. Hafez started his editing career with many TV commercials and music videos. He won 12 local and international awards for his work in six films. Hafez received international acclaim for his work in CLASH (2016) by director Mohamed Diab, which opened the Un Certain Regard section at the 69th Cannes Film Festival. American film critic Deborah Young described his editing style as "rapid-fire editing" in her Clash Cannes review in The Hollywood Reporter. For his work in Clash, Hafez received three awards at the Carthage Film Festival (JCC), Cairo Film Society Festival and the Egyptian National Film Festival.

Editor Joan Sobel ACE made her first foray into tv editing with MOON KNIGHT.  Up until then it had all been feature work as both an assistant on films such as; BOOGIE NIGHTS (1997), ALL THE PRETTY HORSES (2000) and KILL BILL: Vol. 1 & 2 (2003-2004).  From there she went on to work as an editor on NOCTURNAL ANIMALS (2016), WIDOWS (2018) and THE RHYTHM SECTION (2020).

In addition to his work on MOON KNIGHT, Cedric is known for his work as an editor on; THE BOYS (2019-2020), LISEY'S STORY (2021) and BATES MOTEL (2015-2017).

In our discussion with Marvel's MOON KNIGHT editing team, we talk about:

• Breaking away from the MCU and starting fresh
• The onboarding process for a Marvel editor
• Replacing the Marvel theme with needle drops
• Remote collaboration between Budapest and LA
• The importance of push-ups in the editing room

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Listen to editor Cedric Nairn-Smith discuss his work on THE BOYS

Check out other Rough Cut podcasts on Marvel series - WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye

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THE BAD GUYS editor, John Venzon ACE started his career off assisting in the cutting rooms of such memorable films as NATURAL BORN KILLERS (1994), TWISTER (1996), FIGHT CLUB (1999) and PANIC ROOM (2002).  So, it's fair to say he certainly knows his way around a live action feature.  But his career as a lead editor has been highlighted with animated features like SOUTH PARK: BIGGER, LONGER & UNCUT (1999), SHARK TALE (2004), FLUSHED AWAY (2006), STORKS (2016) and THE LEGO BATMAN MOVIE (2017).  The result is an editor who is a great resource to talk to about working as an editor in animation and how that contrasts and compares with editing live action.

THE BAD GUYS tells the story of the notorious criminal gang of Mr. Wolf, Mr. Snake, Mr. Piranha, Mr. Shark and Ms. Tarantula, who, after a lifetime of legendary heists, are finally caught.  To avoid a prison sentence, the animal outlaws must pull off their most challenging con yet -- becoming model citizens.  Under the tutelage of their mentor, Professor Marmalade, the dubious gang sets out to fool the world that they're turning good.

In our discussion with THE BAD GUYS editor, John Venzon ACE we talk about:

• The editorial phases of animated features
• How animated features endured the lockdowns and remote editing requirements
• Refining the tone and logic of a film so that audiences of all ages can understand and enjoy it
• The influence of OCEAN'S ELEVEN and OUT OF SIGHT
• Editors turned voice actors

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CODA editor, Geraud Brisson wasn't completely unprepared when he took on the challenge of cutting a movie where forty percent of the dialogue is delivered in American Sign Language (ASL).  In 2018 he edited a series called THIS CLOSE whose creators and stars were deaf.  But it was another series he worked on, LITTLE AMERICA, that would have the biggest impact on him becoming the editor for CODA.  While working on that series, Geraud would meet CODA director Sian Heder and discuss her ideas for the indie coming-of-age story she was adapting from the French film, La Famille Bélier.

CODA tells the story of a seventeen-year-old girl named Ruby (Emila Jones) who is the only hearing member of a deaf family from Gloucester, Massachusetts.  Ruby works mornings before school to help her parents (Marlee Matlin and Troy Kotsur) and brother (Daniel Durant) keep their fishing business afloat.  But in joining her high school's choir club, Ruby finds herself drawn to both her duet partner and her latent passion for singing.

In our discussion with CODA editor, Geraud Brisson we talk about:

• When to introduce subtitles into editorial
• Why you still need to lav mic actors who are speaking with ASL
• How dialogue delivered as ASL affects shot choices and cut durations
• What silence sounds like
• Why the best directors are also the best knitters

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SHINING VALE editors Joel Griffen and Gardner Gould teamed up with editor Antonia de Barros to craft a truly unique tv series that deftly blends comedy, fantasy and horror.  Created by Jeff Astrof and Sharon Horgan, SHINING VALE stars Courteney Cox, Greg Kinnear, Sherilyn Fenn, Mira Sorvino, Merrin Dungey and Judith Light. It premiered on Starz on March 6th, 2022.

The plot of SHINING VALE is described thusly...a dysfunctional family moves from the city to a small town after Patricia "Pat" Phelps, a former "wild child" who became famous through writing raunchy female empowerment novels, is caught cheating on her husband. The house the family has moved into is a place where in the past, terrible atrocities have taken place. Nobody seems to suspect anything odd except for Pat who's convinced she's either depressed or possessed. Pat has been sober for 16 years, but begins to feel very unfulfilled in life – she still hasn't written her second novel, she can't remember the last time she had sex with her husband and her teenage kids have grown up to the point where they don't want their mother in their lives. Soon, the demons haunting the family's new home begin to appear much more real.

Editor Joel Griffen is known for his work as an editor on such shows as Leverage: Redemption (2021), Almost Paradise (2020), Krypton (2018-2019); and as an assistant editor on The Walking Dead (2014-2015), Super 8 (2011), Rango (2011), Top Chef (2007-2008) and American Idol (2007).

Gardner Gould came up in NY and LA cutting rooms under editors Tim Squyres (LIFE OF PI), and Michael Berenbaum (BEFORE NIGHT FALLS). Gould earned his first feature editing credit on DON’T BREATHE (dir. Fede Alvarez; prod. Sam Raimi), grossing over $157M. He followed this taut editorial debut with the lush and exploratory PERFECT (dir. Eddie Alvarez; e.p. Steven Soderbergh), which premiered at SXSW. The same year, drama/sci-fi/thriller HOTEL ARTEMIS (dir. Drew Pearce, prod. Marc Platt) allowed Gould to work a contained ensemble cast into a chest-sweating boil. Sony's GRUDGE reboot (dir. Nicolas Pesce; prod Sam Raimi) followed as an opportunity to re-team with Ghost House producing team to unnerve and terrify horror fans worldwide. He's now lead editor on Starz’s new series SHINING VALE (creators Jeff Astrof and Sharon Horgan). Always on the lookout for fresh projects, he also edits for the Sundance Directors Lab.

In our discussion with the editors of SHINING VALE, we talk about:

• Fun with title cards
• To visit the set or to not visit the set...that is the question
• Relying on an unreliable narrator
• Paying homage to the classics of scary cinema
• Cultivating hand signals for remote collaboration

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WeCrashed editor, Justin Krohn is An Emmy-nominated American Film & TV editor based in Los Angeles.  Krohn began his career working as an assistant editor in Los Angeles & New York, most notably on Martin Scorsese’s Bob Dylan documentary, NO DIRECTION HOME (2005). Continuing to work in the Scorsese orbit while in New York, he contributed to the George Harrison documentary LIVING IN THE MATERIAL WORLD (2011), while also working on Michael Haennke’s US remake of FUNNY GAMES (2007) & several Bruce Springsteen documentaries for director Thom Zimny.

Returning to Los Angeles, Justin began to work as an editor on AMERICAN HORROR STORY (2015-2016), BLOODLINE (2017), TWIN PEAKS: THE RETURN (2017), & THE CURRENT WAR: DIRECTOR'S CUT (2017). Beginning in 2017, he began working with director Sam Esmail on the acclaimed series, MR. ROBOT (2017-2019), starring Rami Malek, & then Amazon’s limited series HOMECOMING (2018), starring Julia Roberts. In 2018, he was nominated for an Emmy for his work editing TWIN PEAKS: THE RETURN for director David Lynch.

WeCrashed is an American drama streaming television miniseries based on the podcast WeCrashed: The Rise and Fall of WeWork by Wondery. The series stars Jared Leto and Anne Hathaway and follows the entrepreneurial rise and fall of WeWork, one of the world's most valuable startups, and the characters whose chaotic love made it all possible.

In our discussion with WeCrashed editor, Justin Krohn, ACE we talk about:

• Getting film schooled by Thelma Schoonmaker
• The editorial benefits of cross-boarded shooting
• Motivated cutting techniques to accelerate the story
• Making the most out of montages
• Learning and re-learning the communications skills an editor needs

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MAID editor, Annette Davey, ACE first began her journey into post production in her native Australia.  After a stroke of good fortune led her to a program funded by a grant from the Australian government where she would learn her craft amongst sixteen women for six months, Annette began assistant editing in tv and enrolled in film school.  From there she would make the move to the U.S. so she could continue her career path, editing a variety of projects in both film and television.  Her feature film work is accented by an indie hit about a young waitress in an abusive relationship, 2007's WAITRESS.  On the tv side, Annette has worked on such series as; HOW TO MAKE IT IN AMERICA (2010), HUNG (2009-2011), TRANSPARENT (2014), GLOW (2018), ZOEY'S EXTRAORDINARY PLAYLIST (2020) and Hulu's original series, PAM AND TOMMY (2022).

MAID is based on a memoir from author Stephanie Land called, Maid: Hard Work, Low Pay, and a Mother's Will to Survive. It tells the story of a young mother named Alex (Margaret Qualley) who leaves her abusive boyfriend in the middle of the night, taking their toddler daughter with her.  Once on their own, Alex struggles to make ends meet while working as a maid and dreaming of a future as a writer.

In our discussion with MAID editor, Annette Davey, ACE we talk about:

• The challenge of interviewing for jobs over Zoom
• Crafting multi-dimensional antagonists
• The benefits of at-home editing
• Enhancing the performances of child actors with stolen moments between takes
• How her own career path influenced what she looks for in an assistant

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THE BATMAN post production team of editors Bill Hoy and Tyler Nelson, along with supervising sound editors Will Files and Doug Murray, are justifiably proud of the film they've made.  In breaking the mold of the superhero archetype, they achieved director Matt Reeves' vision of a noir murder mystery that's more in the vein of classis 70's cinema than the glossy blockbusters of the 21st century.  Adding to this feat is the fact that they were forced to shut down one month into production only to return to action in a much more restrictive model of collaboration than they were used to.  In spite of those challenges, audiences and critics alike have responded in a big way to the remarkably fresh take on DC Films' dark knight.

The story of THE BATMAN begins two years into his crimefighting legacy, forgoing the usual origin story elements often found in super hero tales, and follows Batman / Bruce Wayne as he ventures into Gotham City's underworld where he must track a sadistic killer prone to leaving behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator's plans becomes clearer, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the city.

William Hoy is known for his work on NO WAY OUT (1987), DANCES WITH WOLVES (1990), THE BONE COLLECTOR (1999), DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017).

Tyler Nelson is known for his assistant editing work on THE SOCIAL NETWORK (2010), THE GIRL WITH THE DRAGON TATTOO (2011) and GONE GIRL (2014); as well as his editing work on MINDHUNTER (2017-2019) and SHADOW AND BONE (2021).

Will Files is known for his work on CLOVERFIELD (2008), DAWN OF THE PLANET OF THE APES (2014), WAR FOR THE PLANET OF THE APES (2017), STAR WARS:  EPISODE VII - THE FORCE AWAKENS (2017) and VENOM (2018).

Douglas Murray is known for his work on THE ENGLISH PATIENT (1996), CLOVERFIELD (2008), DAWN OF THE PLANET OF THE APES (2014), WAR FOR THE PLANET OF THE APES (2017) and ANT-MAN AND THE WASP (2018).

In our discussion with THE BATMAN post production team, we talk about:

• The influence of 70’s cinema on THE BATMAN
• Using POV driven sound to internalize character feelings
• Building the “voice” of the Batmobile
• The anatomy of a chase scene
• Futzing music on the fly

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See re-recording mixer and sound designer Will Files and the post production team from STRANGER THINGS discuss Season Three

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THE ADAM PROJECT tells the tale of time-traveling fighter pilot Adam Reed (Ryan Reynolds), who accidentally crash-lands in 2022 while on his way to 2018.  Once there he teams up with his 12-year-old self (Walker Scobell) on a mission to save the future.

Prior to THE ADAM PROJECT, editor Jon Corn's first and only experience with Shawn Levy and Dean Zimmerman was in 2017 on a series called, IMAGINARY MARY.  But apparently he made a pretty strong impression on the two as they trusted his talents to their latest high-profile project.  And why not?  Jon had an impressive roster of comedy tv to his credits, including; PARKS AND RECREATION, CURB YOUR ENTHUSIASM, THE GOLDBERGS, ENTOURAGE and many others.  Jon had also recently cut the feature film FATHERHOOD (2021).

THE ADAM PROJECT finds Dean collaborating once again with director and longtime friend, Shawn Levy.  The two have been working together for over twenty years on projects like the NIGHT AT THE MUSEUM franchise and a little series called STRANGER THINGS.  In fact, a lot of Dean’s crew from STRANGER THINGS is on board for THE ADAM PROJECT.  Assistant editor Kat Naranjo, pre-viz editor Brad Tobler and sound editor Craig Henighan were all on hand for the film.  So, clearly Dean takes a family-oriented approach to putting a crew together and keeping them together.  And editing is a family business in more ways than one for Dean.  His father, Don Zimmerman, is a highly accomplished editor in his own right.   (yes, I totally copied this from the write-up on Dean I did for FREE GUY)

Dean is currently working on wrapping up Season Four of STRANGER THINGS, premiering May 27th, 2022.

In our discussion with THE ADAM PROJECT editors Dean Zimmerman and Jon Corn, we talk about:

• The additive coolness of digital trees
• Overcoming the newness to the bigness
• Getting rid of remote editorial anxieties with PacPost Live
• Working with Ryan Reynolds on timing and inflection notes
• Sacrificing great material for the even greater good

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See the post production team from STRANGER THINGS discuss Season Three

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9-1-1: Lone Star editors Charles Little II and Bryan Colvin make their debut on The Rough Cut to describe both their workflow for the Fox procedural drama as well as the career paths that lead them there.

From 9-1-1 co-creators Ryan Murphy, Brad Falchuk and Tim Minear, 9-1-1: Lone Star follows a sophisticated New York firefighter who, along with his son, relocates from New York City to Austin, Texas. He must try to balance the duties of saving those who are at their most vulnerable and solving the problems in his own life. He is joined by other firefighters as well as members of the police department and emergency medical services.

Charles is an accomplished motion picture editor, television producer and an award-winning multimedia creative. In 2008, Charles received the Best Editing Award for The Luminaries' inspiring music video entitled Peace at the fifth annual Elevate Film Festival which challenged international filmmakers to create works of social and environmental importance. In 2012, Charles directed and edited a series of short brand films for ad agency Gertude, Inc. which earned him a bronze Telly Award.  Charles' credits also include unscripted series for networks like Showtime, Discovery, NatGeo and VH1; including Ru Paul's Drag Race and MTV Networks' 1 World Hip-Hop Championship where Charles wore several hats including Editor, Director and Executive Producer. Charles is an active member in various post-production groups promoting diversity and advancement within the film and television industry; and is a proud member of the Motion Picture Editor's Guild (I.A.T.S.E. Local #700).

Bryan is an up and coming motion picture editor, currently working on 9-1-1 on FOX (created by Ryan Murphy, Brad Falchuk & Tim Minear), with his roots in all forms of media creation growing up. From music performance, composition, video editing, motion graphics, even adobe flash before that went the way of the dodo. Any art form that involved media placed over a timeline, was of interest in his upbringing. At the age of 19 Bryan cut a web series called Noah’s Arc created by Patrik-Ian Polk that was picked up by LOGO Network. He’s cut many music videos, short films, and a sum of 7 indie feature films since his first, and 2 more as Additional Editor. In 2013 Bryan cut his first feature film Blackbird, starring Mo’Nique, Isaiah Washington, and new comer Julian Walker, which even got a small theatrical release in major cities. Always striving to dig deeper into story and plot, and engage the audience better with edge-of-your-seat excitement and empathy for the characters. Always striving to learn new tools and improve the time it takes for thought to be built in the timeline for real, all while guiding the collaborative synergy at the edit bay to keep it flowing all the way to lock picture.

In our discussion with the editors of 9-1-1: Lone Star, we talk about:

• Snapchat editorial setups
• Trolling Twitter for audience feedback
• Taking the mad scientist approach to remote "Parsec" workflows
• Loving the trim tool and 3-band EQ
• Being an "emotional DJ"

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For those that aspire to careers in film and tv editing, this panel (originally recorded for ACE EditFest 2021) offers plenty of great advice and lots of interesting origin stories from five assistant editors who have worked on some of the most acclaimed films and television shows.

Life Sentence, Whiskey Cavalier, Ted Lasso

The Next Iron Chef, Forever Young, Deadliest Catch

Eastsiders, Minari, Shang-Chi and the Legend of the Ten Rings

If Beale Street Could Talk, Zola, The Underground Railroad

Trumbo, Molly's Game, Eternals

In our discussion with these amazing assistant editors, we talk about:

• Taking ownership of your mistakes
• What happens in the cutting room stays in the cutting room
• The importance of being genuine and having a good attitude
• How anyone can be a mentor

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PEACEMAKER editors Fred Raskin ACE, Greg D'Auria and Gregg Featherman have worked together going back many years, just never all together on the same project.  For the HBO Max spinoff of James Gunn's THE SUICIDE SQUAD, the three have combined their collective talents to create a series that balances comedy, action and drama with Gunn's signature style.

PEACEMAKER is an American television series based on the DC Comics character Peacemaker. It is the first DC Extended Universe (DCEU) television series and is set after the events of THE SUICIDE SQUAD.  The series follows jingoistic killer Christopher Smith / Peacemaker as he joins "Project Butterfly"; a black ops squad that targets extra-terrestrial parasitic butterfly-like creatures.

In looking for an editor and Associate Producer for his first DC tv series, James Gunn had to look no further than an old friend from his Marvel days, editor Fred Raskin.  Fred worked with Gunn on both Guardians of the Galaxy films, as well as 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 Quantin Tarantino.  Fred handled the editorial duties for Django Unchained, The Hateful Eight and, most recently, Once Upon a Time in Hollywood.

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) and F9: THE FAST SAGA (2021).

While PEACEMAKER marks the first time that Gregg Featherman has worked with Raskin, he was assisted by editor Greg D'Auria on the films MUSIC OF THE HEART (1999) and TEXAS RANGERS (2001).  Although the earlier part of his career was primarily in feature film, Featherman has spent most of his career editing tv series such as; ENTOURAGE (2005-2011), SHAMELESS (2013-2015) and JANE THE VIRGIN (2015-2016).

In our discussion with PEACEMAKER editors Fred Raskin ACE, Greg D'Auria and Gregg Featherman, we talk about:

• Editing the most awesome show open ever
• John Cena's incredible improv talents
• Working with James Gunn on a tv series vs working with him on a film
• Meeting the director over FaceTime and communicating via notes
• Resurrecting the career of a Norwegian glam metal band

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Hear Fred Raskin talk about his work on THE SUICIDE SQUAD and ONCE UPON A TIME IN HOLLYWOOD

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For those that aspire to careers in film and tv editing, this panel (originally recorded for ACE EditFest 2021) offers plenty of great advice and lots of interesting origin stories from five editors who have helmed some of the most acclaimed films and television shows.

The Newsroom, Euphoria, Minari, Shang-Chi and the Legend of the Ten Rings

Moonlight, If Beale Street Could Talk, The Underground Railroad, Zola

Biography, Ice Road Truckers, Black Gold, Deadliest Catch

CSI, I Love Money, Rush Hour, Ted Lasso

Zombieland, Molly's Game, The Trial of The Chicago 7, Being the Riccardos

In our discussion with these amazing ACE editors, we talk about:

• Starting an editing career with a blooper reel
• How sometimes you have to take a step sideways or backwards to move forward
• The immutable truth that WHO you meet in film school can be more important than WHAT you learn in film school
• What it means to be good in the room

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Hear Alan Baumgarten talk about his Oscar-nominated work on The Trial of the Chicago 7

Listen to Melissa McCoy discuss editing Ted Lasso

Harry Yoon on his work on Minari and Shang-Chi and the Legend of the Ten Rings

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FLEE editor, Janus Jansen began his filmmaking journey when he first stepped into an editing room on Monday, February 5th 1970.  Fifty-two years later he can look back upon a career rich in both scripted films, such as SMILLA'S SENSE OF SNOW (1997) and THE HOUSE OF THE SPIRITS (1993), as well as documentaries like STRONG ISLAND (2017) and A CIVILIZED COUNTRY (2014).  Fourteen of those films were done with noted Danish director, Bille August.

FLEE follows Amin Nawabi, who, on the verge of marrying his husband, shares his story for the first time about his hidden past fleeing his home country of Afghanistan to Denmark as a refugee.

In our discussion with FLEE editor, Janus Jansen we talk about:

• To dub or not to dub, that is the question
• Creating animatics
• Keeping post in sync with animation
• Doing sound design when there's little-to-no production audio
• What the word 'home' means to an editor

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MASTERCHEF: LEGENDS editors Molly Shock, Matt Cluett and Ezra Hudson join The Rough Cut to talk about their ACE Eddie nominated work on Season 11 of the reality TV juggernaut.

Featuring celebrity chef Gordon Ramsey, the cooking competition pits amateur and "at home" chefs against one another in an ongoing gauntlet of culinary challenges until only one contestant is left standing.  The competition takes place in the MasterChef soundstage located in Los Angeles, CA; which includes a large kitchen area with several cooking stations that are overlooked by a balcony, a well-stocked pantry, a freezer/fridge area and a fine-dining restaurant/seating dining area room used for certain challenges.

Aspiring director Molly Shock discovered her love of editing through her disdain for being on set.  The DGA's loss was unscripted tv's gain as Molly's storytelling skills and eye for "salty looks" has helped create some of the most popular shows in the world of reality television.  Too numerous to name in their entirety, Molly has edited such reality tv standouts as;  BEYOND SCARED STRAIGHT, TOP CHEF MASTERS, PROJECT RUNWAY, SURVIVOR, NAKED AND AFRAID and RUPAUL'S DRAG RACE ALL STARS.  Always up for a challenge, Molly has never met an escape room she didn't like or a turkey she couldn't cook.

Matt Cluett's first opportunity to try his hand at cutting unscripted tv began in Australia on the Aussie versions of many well known reality franchises, including shows such as;  THE BIGGEST LOSER, THE APPRENTICE, SO YOU THINK YOU CAN DANCE, THE X FACTOR, WIFE SWAP, AUSTRALIA'S NEXT TOP MODEL, THE BACHELOR and of course, MASTERCHEF AUSTRALIA.  Currently on his third season of MASTERCHEF: LEGENDS, Matt focuses much of his attention on the "super tease" element of the show.

USC film school grad, Ezra Hudson initially found himself on a track to being a "very" junior feature development studio exec and then marketeer at Legendary Pictures.  At that point Ezra considered the process of post production to be boring, based on some brief experience he had visiting a film cutting room while he was in high school.  Despite that previous conception of post, Ezra knew he needed to do something more visceral and vital with his talents.  That desire put him back on course with editing, joining shows like LEGO MASTERS and DANCING WITH THE STARS, and ultimately leading him to lend his "God's eye view" to the finishing phase of MASTERCHEF: LEGENDS.

In our discussion with MASTERCHEF: LEGENDS editors Molly Shock ACE, Matt Cluett and Ezra Hudson, we talk about:

• What it's like to be on a show that can have a team of up to 20 editors
• How they divide up the workflow with “Builders”, “Polishers”, & “Finishers”
• How you work remotely with such a large team
• Why the cold opens and "next on" segments are so important to the whole context of an episode
• Managing the sheer volume of media required to make a show like MasterChef

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THE HARDER THEY FALL editor, Tom Eagles ACE first made a name for himself with his ACE Eddie-winning work on JOJO RABBIT (2019); a film for which he was also nominated for an Oscar® for Best Film Editing.  Looking to expand his career and broaden the scope of the work he could choose from, Tom was in the process of moving his family from his native New Zealand to Los Angeles, while he took on a new project with first-time director, Jeymes Samuel.  Due to the impact of COVID, that move was delayed and Tom wound up cutting his new film back home in New Zealand.

In addition to directing THE HARDER THEY FALL, Jeymes Samuel is also known as a singer, songwriter and music producer who travels under the name "The Bullitts".  For his first time out as a filmmaker, Samuel has crafted a revisionist Western with a distinct emphasis on visual style and, of course, musicality.    THE HARDER THEY FALL is also one of the few, if not only, Westerns whose principal cast members are all Black and all the characters they play in the film are real.   The standout cast is anchored by actors; Jonathan Majors, Idris Elba, Regina King, Delroy Lindo, RJ Cyler, Zazie Beets and Lakeith Stanfield.

Back in his home country of New Zealand, Tom Eagles built his career on a foundation of work with director, Taika Waititi.  Projects 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).  Now working full time in Los Angeles after completing THE HARDER THEY FALL, Eagles is once again reuniting with Waititi for his next film.

In our discussion with THE HARDER THEY FALL editor, Tom Eagles ACE, we talk about:

• Managing a story with a large cast
• The punctuation of freeze frames, stings and split screens
• Having a director "sing" you the script
• The enduring analog method of "pen and paper" note taking
• Being a working editor in New Zealand vs Hollywood

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tick, tick...Boom! editors Andy Weisblum and Myron Kerstein merged their considerable talents to bring Lin-Manuel Miranda's directorial debut to life....but not at the same time.  While Weisblum began the project, COVID-related delays and a prior commitment to another film meant that Andy would not be able to finish the film.  Fortunately for Miranda, he had to look no further than the cutting room of his film IN THE HEIGHTS.   With that, Myron Kerstein was brought in to lend his storytelling skills to the project and bring "TTB" home.

Aside from his rich body of work with Wes Anderson, Andy is also a frequent collaborator with director Darren Aronofsky.  In addition to his Oscar®-nominated work on Aronofsky’s BLACK SWAN (2010), Andy also collaborated with him on THE FOUNTAIN (2006), BROKEN ENGLISH (2007), THE WRESTLER (2008), NOAH (2014) and MOTHER! (2017).  The two are currently at work on Aronofsky’s next film, THE WHALE.

Even before re-teaming with Lin-Manuel Miranda for tick, tick...Boom!, Myron Kerstein had plenty of experience to draw from going into their first project together - Miranda’s Broadway hit, IN THE HEIGHTS (2021). Kerstein previously worked with IN THE HEIGHTS director John Chu on the film, CRAZY RICH ASIANS (2018).  Myron also had a diverse pool of film and tv projects, including; GARDEN STATE (2004), NICK AND NORAH'S INFINITE PLAYLIST (2008), LITTLE FOCKERS (2010), THE DUKES OF HAZARD (2005), FAME (2009), GIRLS (2015-17) and HOME BEFORE DARK (2020).

In our discussion with tick, tick...Boom! editors Andy Weisblum and Myron Kerstein, we talk about:

• How to manage the handoff of a project from one editor to another
• Converting beats to frames when cutting a musical
• Cutting at director, Lin-Manuel Miranda's house
• What to do with the post crew when a new editor comes in to replace the first one
• Editing with The Wu-Tang Clan looking over your shoulder

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LICORICE PIZZA editor, Andy Jurgensen has worked with director Paul Thomas Anderson since their time together on INHERENT VICE (2014).  At that time, Andy was first assistant editor to Leslie Jones ACE.  From there Andy served as associate editor to Dylan Tichenor ACE on Anderson's PHANTOM THREAD (2017).  In addition to his work with Paul Thomas Anderson, Andy has also served as an assistant editor on a number of films with director, Jay Roach, including THE CAMPAIGN (2012), TRUMBO (2015) and BOMBSHELL (2019).

Set in the San Fernando Valley in the early 1970's, LICORICE PIZZA is a semi-biographical film that tells the tale of Gary Valentine (Cooper Hoffman), a 15 year-old actor-turned-entrepreneur who becomes infatuated with 25 year-old Alana Kane (Alana Haim).  Despite rejecting his romantic overtures due to their age difference, Alana can't deny Gary's charisma and charm.  Realizing her life is more interesting with Gary in it, Alana becomes partners with Gary in his burgeoning waterbed business.

In our discussion with LICORICE PIZZA editor, Andy Jurgensen we talk about:

• Rising up the ranks from assistant to lead editor
• Working in a hybrid film and digital workflow
• The unique processes of director Paul Thomas Anderson
• How to cut a film without a strong plot to guide you
• Breaking the rules of needle drops to establish an era

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The editors of Marvel's HAWKEYE each brought their own storytelling super powers to the mix for the most recent Disney+ hit.  MCU "newbie" Terel Gibson brought his formidable feature editing skills, while MCU veterans Rosanne Tan and Tim Roche applied their respective tv experience in action/drama and comedy.  Collectively the result was a show that delighted Marvel fans and evoked the holiday spirit of a diverse set of films from DIE HARD to HOME ALONE.

Taking place one year after the events of AVENGERS: ENDGAME, Clint Barton (Hawkeye/Ronin) must partner with Kate Bishop to confront enemies from his past as Ronin in order to get back to his family in time for Christmas.

Prior to joining the MCU for HAWKEYE, Terel Gibson ACE was best known for his feature film work on movies such as SORRY TO BOTHER YOU (2018), READY OR NOT (2019) and THE FIGHTER (2010).

Rosanne Tan ACE makes her record-tying 3rd appearance on The Rough Cut!  Prior to HAWKEYE, Rosanne also cut Marvel's THE FALCON AND THE WINTER SOLDIER and had plenty of other experience editing tv shows (MR. ROBOT, HOMECOMING) that featured action, intrigue and high drama.

In addition to Tim's previous experience cutting another hit Marvel series (WANDAVISION), Mr. Roche honed his editorial skills in the field of comedy tv, having cut such shows as CURB YOUR ENTHUSIASM and IT'S ALWAYS SUNNY IN PHILADELPHIA.

In our discussion with the editors of Marvel's Hawkeye, we talk about:

• Mining the Marvel archives
• The narrative role of the "walk and talk"
• Building an epic 360 degree car chase
• How to make a mega montage from "scenelets"
• Meeting your heroes

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Hear Rosanne Tan talk about her work on THE FALCON AND THE WINTER SOLDIER and HOMECOMING

Listen to editor Tim Roche discuss his work on WANDAVISION

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Cut to the Monkey author, Roger Nygard has logged many hours in the editing rooms of some of the biggest names in comedy.  It was those sessions with the likes of Larry David, Sacha Baron Cohen and Judd Apatow that inspired him to organize their thoughts, and his own, into a book that can help even more experienced editors confidently take on comedy projects.

Roger Nygard is probably best known for his highly-successful and acclaimed documentary Trekkies, about the most obsessive fans in the Universe. Nygard's previous documentary, The Nature of Existence, addressed the impossible subject of the world's philosophies, religions, and belief systems. Nygard has made several other award-winning films, including the car-salesman cult-film, Suckers, and a profile of UFO fanatics, Six Days In Roswell, and now the documentary The Truth About Marriage. His work as an editor includes "Grey's Anatomy," "The League," and Emmy-nominated episodes of "VEEP" and "Curb Your Enthusiasm."  Nygard has also directed television series such as "The Office," and "The Bernie Mac Show".

In our discussion with Cut to the Monkey author, Roger Nygard ACE, we talk about:

• Working backwards to find the best takes faster
• Studying the classics
• Staying in the wides and staying on the joke
• The importance of being a filmmaker first, editor second
• Navigating the Periodic Table of Nonsense

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Editors Leigh Folsom Boyd and Jeffrey Ford are not exactly newbies when it comes to the Marvel Cinematic Universe.  And while they have many prior MCU colleagues in common, SPIDER-MAN: NO WAY HOME represents the first time they've ever worked together on a project.  Jeff was the editor who introduced Tom Holland's Peter Parker to the MCU when he cut CAPTAIN AMERICA - CIVIL WAR.  Leigh has the distinction of also cutting the previous film in director Jon Watts' "Spidey" trilogy, SPIDER-MAN: FAR FROM HOME alongside editor Dan Lebental ACE. NO WAY HOME picks up things up in the moment after Mysterio exposes Parker's identity as Spider-Man to the world in FAR FROM HOME.  Peter then asks Dr. Strange to make it a secret again with magic, but this breaks open the "multiverse" and allows five supervillains from alternate realities to enter Parker's universe.

Even before joining the Marvel Cinematic Universe to co-edit ANT MAN, SPIDER-MAN: FAR FROM HOME and BLACK WIDOW, editor Leigh Folsom Boyd had plenty of experience cutting blockbuster action movies.  Her rich resume includes films like FAST & FURIOUS, FAST FIVE, FAST & FURIOUS 6, FURIOUS 7, PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES and TOTAL RECALL (2012).

While Jeff Ford's career has been punctuated by the excellent work he has done in smaller projects such as ONE HOUR PHOTO (2002), BLOODWORTH (2010) and THE COMEY RULE (2020), it is his impressive and unmatched roster of ten MCU films (plus THE FALCON AND THE WINTER SOLDIER for Disney+) for which he is most well known.

In our discussion with the SPIDER-MAN: NOW WAY HOME editing team of Leigh Folsom Boyd and Jeffrey Ford, we talk about:

• Taking care to build a film that can stand on its own within both a trilogy and a franchise
• Integrating the Easter eggs
• Collaborating under COVID restrictions
• The experience of editing on set
• Jeff Ford finally coming clean about his gaffe in AVENGERS: ENDGAME

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Hear Leigh Folsom Boyd talk about editing Black Widow

Jeffrey Ford and Robin Buday discuss Avengers: Endgame

Editor Dan Lebental on cutting Spider-Man: Far From Home

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NIGHTMARE ALLEY editor, Cam McLauchlin has been working with director Guillermo Del Toro dating back to their time together on PACIFIC RIM (2013).  But up to this point Cam had exclusively served in assistant editing and associate editing roles for Del Toro.  NIGHTMARE ALLEY marks McLauchlin's first time as lead editor for the celebrated director.

Set in the 1940's. NIGHTMARE ALLEY tells the tale of Stanton Carlisle (Bradley Cooper), a down-on-his-luck drifter who endears himself to a clairvoyant (Toni Collette) and her mentalist husband (David Strathairn) at a traveling carnival. Using newly acquired knowledge, Carlisle crafts a golden ticket to success by swindling the elite and wealthy. Hoping for a big score, he soon hatches a scheme to con a dangerous tycoon with help from a mysterious psychiatrist who might be his most formidable opponent yet.

As a film & television editor based out of Toronto and Los Angeles, Cam's career began in Toronto working as an assistant editor for Guillermo Del Toro on PACIFIC RIM, THE STRAIN, CRIMSON PEAK and eventually as an associate editor on SHAPE OF WATER.  Cam also edited the horror cult classic, THE VOID with alumni from Canadian film production and directing company, Astron-6.  Other selected work includes; Max Minghellas' feature debut musical, TEEN SPIRIT and Dogme 95 member, Lone Schefrig's KINDNESS OF STRANGERS.  Cam is currently working with Ana Lily Amirpour for Guillermo's Netflix anthology series, CABINET OF CURIOUSITIES.

In our discussion with NIGHTMARE ALLEY editor, Cam McLauchlin we talk about:

• Rising up the ranks from assistant to associate to lead editor
• Making bulldogs bark for Guillermo Del Toro
• Managing notes from the director, producers, stars and the studio
• The challenge of cutting fluid camera work
• Assisting neurotic editors

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Although editor Dana E. Glauberman ACE and sound editor / re-recording mixer Perry Robertson already had plenty of experience working with director Jason Reitman, editor Nathan Orloff and veteran sound editor / re-recording mixer Will Files were not quite as familiar with the "Reitman-verse".  But together these four very talented people helped create a new film that not only honored the beloved comedy classic, but also paved the way so that a whole new generation could fall in love with symmetrical book stacking.

Dana E. Glauberman ACE is known for her work on THE MANDALORIAN (2019), CREED II (2018),  UP IN THE AIR (2009) and JUNO (2007).

Nathan Orloff is known for his work on JOHN WICK 4 (2022), PLAN B (2021) and TULLY (2018).

Will Files is known for his work on THE INVISIBLE MAN (2020), VENOM (2018), WAR FOR THE PLANET OF THE APES (2017), STAR WARS:  EPISODE VII - THE FORCE AWAKENS (2017) and CLOVERFIELD (2008).

Perry Robertson is known for his work on THE FRONT RUNNER (2018), WONDER (2017) and TRUMBO (2015).

In our discussion with the GHOSTBUSTERS: AFTERLIFE post production team of Dana E. Glauberman ACE, Nathan Orloff, Will Files and Perry Robertson we talk about:

• Using legacy sounds from the original film
• Bringing back a lost scene from Ghostbusters (1984)
• How to create voices for ghosts and marshmallow men
• Dividing up the workload in picture and sounds
• Advice for up-and-comers looking for a career in editing and mixing

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THE POWER OF THE DOG editor, Peter Sciberras had never met director Jane Campion prior to their working together on this film, but their initial discussion about maintaining the tension throughout the film and the kind of tenacious editor that would require, left no doubt that Pete was the one for this project.

THE POWER OF THE DOG is a western drama. both written and directed by Jane Campion, based on the 1967 novel of the same name by Thomas Savage. The film stars Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee.

Prior to his work on THE POWER OF THE DOG, Pete had cut his storytelling teeth on a number of short films and then went on to make his mark in Australian cinema with films such as; HAIL (2011), THE ROVER (2014), WAR MACHINE (2017) and THE KING (2019).

In our discussion with THE POWER OF THE DOG editor, Peter Sciberras we talk about:

• The skills an editor can develop doing short films
• Editing in isolation during the pandemic
• Shifting perspectives between characters
• The role of the DI assistant?
• Telling a story between the lines of dialogue

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Long time friends and collaborators, Hans Zimmer and Joe Walker ACE have had the pleasure of working together on five feature films.  Their first was Steve McQueen's 12 Years A Slave, followed up by Dune director Denis Villeneuve's Blade Runner 2049.  After that came Widows (again with McQueen), Dune and their upcoming film, The Unforgivable.  Feature films aside, their relationship dates back even much further than that.  Both creative talents were part of a BBC TV series called First Born in 1988.  And while Hans filled the roll he's become most known for by scoring three episodes of the series, twice Oscar®-nominated film editor Joe Walker actually contributed as a sound editor and not a picture editor for First Born.  In fact, musically trained Walker began his career as a sound editor before switching to cutting picture.

The work of legendary composer Hans Zimmer is notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980's, Zimmer has composed music for over 150 films. His works include The Lion King (for which he won the Academy Award for Best Original Score in 1995), Crimson Tide, Gladiator, the Pirates of the Caribbean series, The Dark Knight Trilogy, Inception, Interstellar, Dunkirk, Blade Runner 2049 and Dune.  In addition to his Academy award, he has received four Grammy Awards, three Classical BRIT Awards and two Golden Globes. He was also named to the list of Top 100 Living Geniuses, published by The Daily Telegraph.

Formally trained in music and with a career that began as a sound editor, Joe's decision to pursue a life as a picture editor clearly paid off as he is one of the most celebrated feature film editors working today; having been nominated for an Oscar® for his work on the films 12 Years a Slave and The Arrival.  Those films also notched Joe two of this three BAFTA nominations, with the third being for Blade Runner 2049.

In our discussion with the dynamic "DUNE" duo of Hans Zimmer and Joe Walker ACE we talk about:

• How Hans's early film scores messed with the monitors
• Creating "the voice"
• The horizontal and vertical editing Joe Walker does within the frame
• Building a better bagpipe
• The brief and inauspicious careers of Hans Zimmer, film editor and Joe Walker, sound editor

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BELFAST editor, Úna Ní Dhonghaíle joins director Kenneth Branagh once again for their third feature together; having previously collaborated on ALL IS TRUE (2018) and the upcoming DEATH ON THE NILE (2022).  Branagh describes BELFAST as his "most personal film" about a young boy's childhood amidst the tumult in Belfast, Northern Ireland in the late 1960's.

BELFAST editor, Úna Ní Dhonghaíle is also well known for her work on THE CROWN, MISBEHAVIOUR, THREE GIRLS and STAN AND OLLIE. She has worked on the leading lights of British drama in what some are calling "The Golden Age of Television". Having completed a degree in Film and Media Studies in her native Dublin, Úna specialized in film editing at the National Film and Television School (NFTS) from 1995-1998.

Úna earned her first of four BAFTA nominations in 2009 for the Abi Morgan's TV feature WHITE GIRL.  Over a five year period, she co-directed and edited a documentary INVISIBLE MAN, for which she won the 2016 IFTA for Best Editing in Television. Úna has also received much recognition for her editing of the highly acclaimed BBC drama THREE GIRLS, for which she won the BAFTA award for Best Fiction Editing, the Technicolor Craft Award from Women In Film UK, the IFTA for Best Editing, the RTS Award for Best Editing of Fiction, the RTS West of England Award for Editing and the Televisual British Bulldog Award for Editing.

In our discussion with BELFAST editor, Úna Ní Dhonghaíle, we talk about:

• Finding the film's narrator in Van Morrison's music
• Aligning the audience with a child character
• Establishing a scene through sound design
• Collaborating with director Kenneth Branagh
• Leveraging the inherent tension from a historical event

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THE LAST NIGHT IN SOHO editor, Paul Machliss ACE is reunited once more with director Edgar Wright.  The two first met on Wright's BBC TV series, SPACED (1999-2001) where Machliss served primarily as on-line editor until he moved into the offline role for four episodes from the final season.

LAST NIGHT IN SOHO is a 2021 British psychological horror film directed as well as co-written by Wright.  The film stars Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Michael Ajao, Diana Rigg and Terence Stamp. It marks the final film appearances of Rigg and Margaret Nolan, who both died in 2020.  Focus Features states that the film "tells the tale of Eloise, an aspiring fashion designer, who is mysteriously able to enter the 1960s where she encounters a dazzling wannabe singer, Sandie. But the glamour is not all it appears to be and the dreams of the past start to crack and splinter into something far darker".

While known most prominently for his work with 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).  Paul is currently working on THE FLASH (2022) with editor Jason Ballantine ASC ACE for director Andy Muschietti.

In our discussion with THE LAST NIGHT IN SOHO editor, Paul Machliss ACE, we talk about:

• The early BBC days with Edgar Wright
• Using Media Composer and Pro Tools on set for lighting and camera control
• Solidifying the soundtrack before production
• Taking an analog "tape loop" approach to sound design
• Using dupe detection to build an edit

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Editor Craig Wood ACE returns once again to the Marvel Cinematic Universe and this time he is joined by the formidable talents of Oscar®-nominated editor Dylan Tichenor ACE. Despite their extensive careers and wide variety of credits, ETERNALS marks the first time that Dylan and Craig have co-edited together. It's also the first film, possibly for any editor, where the director (Chloe Zhao) received an Oscar® nomination for Best Film Editing (NOMAD) while their current film was still in post production.

While ETERNALS is Craig's fourth film with Marvel, following GUARDIANS OF THE GALAXY (2014), GAURDIANS OF THE GALAXY - VOL.2 (2017) and ANT-MAN and THE WASP (2018), most of Craig's own "cinematic universe" has been with director Gore Verbinski. Together they made the films; MOUSEHUNT (1997), THE MEXICAN (2001), THE RING (2002), THE PIRATES OF THE CARRIBEAN: THE CURSE OF THE BLACK PEARL (2003), THE PIRATES OF THE CARRIBEAN: DEAD MAN'S CHEST (2006), THE PIRATES OF THE CARRIBEAN: AT WORLD'S END (2007), THE WEATHERMAN (2005), RANGO (2011), THE LONE RANGER (2013) and A CURE FOR WELLNESS (2016)...just to name a few. Craig even cut MALEFICENT: MISTRESS OF EVIL (2019) along with editor Laura Jennings, who appeared on THE ROUGH CUT when that film came out.

In addition to his work on ETERNALS, Dylan has done a number of films with many acclaimed directors. Most notably with director Paul Thomas Anderson on films such as BOOGIE NIGHTS (1997), MAGNOLIA (1999), THERE WILL BE BOOD (2007) and PHANTOM THREAD (2017). And when he wasn't working with Paul Anderson, he was doing BROKEBACK MOUNTAIN (2005) with Ang Lee, ZERO DARK THIRTY (2012) alongside editor Billy Goldenberg ACE for Kathryn Bigelow, UNBREAKABLE (2000) for M. Night Shamalan, THE ROYAL TENENBAUMS (2001) for Wes Anderson and THE TOWN (2010) for Ben Affleck. Dylan received Oscar® nominations for his work on ZERO DARK THIRTY as well as THERE WILL BE BLOOD.

In our discussion with the ETERNALS editing team of Craig Wood ACE and Dylan Tichenor ACE we talk about:

• The challenge of introducing 11 new characters in one film
• How Eternals is just The Revenant with laser beams
• Working in 7.1 surround in the cutting room
• Keeping the team together via "Zoom Hallways"
• Mentoring the next generation of super hero editors

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Watch editor Dylan Tichenor ACE take you on a guided tour of his ETERNALS timeline

Hear director/editor Chloe Zhao talk about her love of editing

Hear editor Laura Jennings discuss the film she did with Craig Wood ACE, Maleficent: Mistress of Evil

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THE FRENCH DISPATCH was written, directed, and produced by Wes Anderson and stars an ensemble cast featuring Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Jeffrey Wright, Bill Murray, Owen Wilson and many more talented actors.  It tells the tale of the French foreign bureau of a fictional Kansas newspaper, compelled to create its final issue when Arthur Howitzer Jr., the editor of the newspaper, dies suddenly of a heart attack. According to the wishes expressed in his will, publication of the newspaper will be suspended following one final farewell issue in which three articles from past editions of the paper are republished, along with his obituary.

The project was first mentioned in August 2018 as an untitled musical set after World War II.  That December, the film was officially announced with Anderson calling it a "love letter to journalists."  Filming took place between November 2018 and March 2019.  Following a year delay, THE FRENCH DISPATCH had its world premiere at the Cannes Film Festival on July 12, 2021 and was theatrically released in the United States by Searchlight Pictures on October 22, 2021.

Aside from his rich body of work with Wes Anderson, Andy is also a frequent collaborator with director Darren Aronofsky.  In addition to his Oscar®-nominated work on Aronofsky's BLACK SWAN (2010), Andy also collaborated with him on THE FOUNTAIN (2006), BROKEN ENGLISH (2007), THE WRESTLER (2008), NOAH (2014) and MOTHER! (2017).  The two are currently at work on Aronofsky's next film, THE WHALE.

In our discussion with THE FRENCH DISPATCH editor, Andrew Weisblum ACE, we talk about:

• Editing from an animatic
• Wes Anderson's disdain for ADR
• Using color and framing for punctuation
• The fun of splits and morphs and sub-frame editing
• When an editor has to neuter a film

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NO TIME TO DIE editors, Tom Cross ACE and Elliot Graham ACE combine their collective talents for storytelling and their love for the Bond franchise in director Cary Joji Fukunaga's take on the iconic super agent.

NO TIME TO DIE is the twenty-fifth film in the James Bond series. It stars Daniel Craig in his fifth and final outing as fictional British MI6 agent, James Bond.  In this film, Bond, who has left active service with MI6, is recruited by the CIA to find a kidnapped scientist, which leads to a showdown with a powerful adversary.

Editor Tom Cross first really made a name for himself working alongside director Damien Chazelle on their breakout film, WHIPLASH.  Among the many accolades garnered by the film was Cross's Oscar® win for Best Film Editing.  Chazelle and Cross would follow that up with another hit movie, LA LA LAND, for which Cross was again nominated for an Oscar®.  The two would team up yet again for FIRST MAN, a biopic about astronaut Neil Armstrong.  Cross is currently working with Chazelle on the forthcoming film, BABYLON.

Editor Elliot Graham wasted no time in making his way into the editor's chair, bypassing the more traveled route of assistant editing.  Graham cut his teeth on a healthy mix of music videos and action movies, punctuated by his work with Oscar®-winning editor John Ottman (BOHEMIAN RHAPSODY) on Bryan Singer's X2: X-MEN UNITED.  Although Elliot would go on to do more action/superhero movies like SUPERMAN RETURNS and CAPTAIN MARVEL, it was his work on MILK, the story of gay rights activist and politician, Harvey Milk that brought Elliott an Oscar® nomination.

In our discussion with the NO TIME TO DIE editors Tom Cross ACE and Elliot Graham ACE, we talk about:

• Creating action within a dialogue scene
• What they require in their editing suites
• Hans Zimmer taking over the music during post
• How Tom and Elliot got started in the business
• Considerations when cutting IMAX footage

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The Sex Education editing team of David, Steve, Phil and Izzy join The Rough Cut to talk about their work on Season Three of the hit series.

Sex Education is a British teen comedy-drama streaming television series created by Laurie Nunn for Netflix. The show follows the lives of the students, staff and parents of the fictitious Moordale Secondary School as they contend with various personal dilemmas, often related to sexual intimacy.  The first season of Sex Ed was released in January 2019, the second in January 2020 and, after a pandemic related delay, the third in September 2021. The series has been renewed for a fourth season.

David Webb is partner, Managing Director and a film editor at Final Cut Ltd . He cut his teeth on music videos in the early 2000's for George Michael, Charlatans, Super Furry Animals, 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', the inspiration for Wright's film Baby Driver. Earlier in his career, he spent a decade cutting commercials before moving into long-form at the request of director Jim Field-Smith. Webb has collaborated with Jim ever since, working on The Wrong Mans; Endeavour; Criminal; Defending The Guilty and, most recently, Truth Seekers.

Steve Ackroyd is an award-winning editor represented by Final Cut. After starting his career cutting ads for the BBC, Ackroyd was headhunted by the edit house & expanded into the world of commercials and music videos.  In 2015, Ackroyd made the leap into longform TV with Channel 4’s multi-award winning comedy Catastrophe, directed by Ben Taylor - he proceeded to be the sole editor on the show for the first 3 seasons. Ackroyd has since cut series such as Hang Ups, Frank Of Ireland and all 3 seasons of the internationally acclaimed Sex Education for Netflix. He’s just finished a stint on the UK version of Call My Agent and is currently working with director Paul McGuigan on four-part drama Inside Man for the BBC and Netflix, starring Stanley Tucci and David Tennant.

Prior to joining the post team for Sex Education in Season Two, Phil's work could be seen on the series Dead Pixels and Year of the Rabbit, also helmed by Sex Education director, Ben Taylor.  Phil is also credited with editing six episodes of the comedy, Stath Lets Flats.

Izabella is a film editor based in Brighton and London. Her credits include the feature film Two For Joy [directed by Tom Beard] which premiered at Edinburgh International Film Festival 2018 and the short film Kara [directed by Deepa Keshval] which was premiered at The London Film Festival 2017.

In our discussion with the Sex Education editing team of David Webb, Steve Ackroyd, Phil Hignett and Izzy Curry, we talk about:

• Balancing multiple story lines and "checking in" with characters
• Collaborating in a COVID bubble
• Team building through table tennis
• Working with director Ben Taylor
• Taking inspiration from Steven Soderbergh's Out of Sight

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Venom: Let There Be Carnage editor, Maryann Brandon ACE completes a trilogy of her own with her third appearance on The Rough Cut podcast!  Having previously appeared to discuss her work on the Star Wars sequels (The Force Awakens and The Rise of Skywalker), Maryann once again finds herself on board a high-profile franchise flick.

Venom: Let There Be Carnage is directed by Andy Serkis and stars Tom Hardy as Eddie Brock / Venom and Woody Harrelson as serial killer Cletus Kasady / Carnage.  In the film, Brock struggles to adjust to life as the host of the alien symbiote known as Venom, while Kasady escapes from death row after becoming the host of Carnage, a chaotic spawn of Venom.

Maryann Brandon is, without question, no stranger to the big movies and big movie franchises.  She first teamed up with director JJ Abrams, someone who would become a central figure in her career, back when Abrams was doing the action tv series, Alias.  In fact, Maryann even directed a few of those shows.  From there, Maryann worked with JJ on Mission Impossible 3, Star Trek, Super 8, Star Trek Into Darkness, and finally Star Wars: The Force Awakens and Star Wars: The Rise of Skywalker.  Among the many other films Maryann has edited was a film that came out in 2018 called Venom, which she co-edited with Alan Baumgarten ACE.

In our discussion with Venom: Let There Be Carnage editor, Maryann Brandon ACE, we talk about:

• Managing the amount of VFX so as not to exhaust the audience or the budget
• The tonal balancing act of Venom
• The qualities of a great assistant editor
• The value of shooting clean plates on set
• Reactions to Star Wars editor, Marcia Lucas's comments on the sequels

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The Guilty editor, Jason Ballantine ASE ACE had always wanted to work with director Antoine Fuqua; he just figured it would be on an action film in the vein of the features Fuqua is known for (Training Day, The Replacement Killers, Olympus Has Fallen).  But with Fuqua's remake of the critically acclaimed Danish film, Den Skyldige "The Guilty" (2018), Ballantine instead finds himself at the editorial helm of a psychological thriller.

The Guilty takes place over the course of a single morning in a 911 dispatch call center.  Call operator Joe Baylor (Gyllenhaal) tries to save a caller in grave danger—but he soon discovers that nothing is as it seems, and facing the truth is the only way out.

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.  Currently at work on Muschietti's The Flash (2022), 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.

In our discussion with The Guilty editor, Jason Ballantine, we talk about:

• Interviewing with a director
• Recording dialogue over zoom
• An assistant who's also a VFX editor
• Everything you'd ever want to know about futzing audio
• Ignoring the notes and making the movie the director wants to make

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Brand New Cherry Flavor editor, Greg O'Bryant told his frequent collaborator, and B.N.C.F. show runner, Nick Antosca that he couldn't believe that any studio would back a series based on Todd Grimson's 1996 book of the same name; but if any did, Greg was "all in".  As it turns out, Netflix was all in too.  The result is an 8-episode series that almost defies description, but here's how Netflix describes it anyway.

A filmmaker heads to Hollywood in the early '90s to make her movie but tumbles down a hallucinatory rabbit hole of sex, magic, revenge — and kittens.

As accurate a description as that is, it doesn't even scratch the surface of what Greg and his friends created for the streaming giant.

Brand New Cherry Flavor editor, Greg O'Bryant first began his partnership with Nick Antosca on Channel Zero, a SyFy Channel anthology series based on the popular Internet "Creepypastas" Candle Cove, The No-End House and Butcher's Block.  This would not be the first anthology series where O'Bryant would lend his editorial talents, as he also worked on the tv adaptation of Steven Soderbergh's The Girlfriend Experience.  Prior to Brand New Cherry Flavor, O'Bryant and Antosca would join forces once again on Hulu's original series, The Act.  In addition to these projects, Greg also edited the critically acclaimed political drama, The Report.

In our discussion with Brand New Cherry Flavor editor, Greg O'Bryant, we talk about:

• Building a partnership with show runner Nick Antosca
• Creating the "nightmare logic" for the series
• Working with the LiveGrain process
• Keeping a clean timeline for the next editor
• The importance of being intentional with music

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Candyman is a supernatural slasher film directed by Nia DaCosta and written by Jordan Peele, Win Rosenfeld and also DaCosta. The film is a direct sequel to the 1992 film of the same name and the fourth film in the Candyman film series.

In 2019, twenty-seven years after the events of the first film, visual artist Anthony McCoy (Yahya Abdul-Mateen II) lives in Chicago with his girlfriend, art gallery director Brianna Cartwright (Teyonah Parris). Brianna's brother Troy shares with them the urban legend of Helen Lyle (Virginia Madsen), a graduate student who went on a killing spree in the early 1990's. Lyle's rampage culminated in a bonfire outside Chicago's Cabrini-Green housing project, where she attempted to sacrifice a baby in the fire. The residents were able to rescue the child before Helen perished in the fire in an apparent act of self-immolation.

Desperate for a creative spark to turn his career around, Anthony roams around the Cabrini-Green housing project for inspiration. There, he eventually meets William Burke, a laundromat owner who introduces him to the story of the Candyman (Tony Todd). When Burke was a child he had a frightening encounter with a hook-handed man named Sherman Fields.  Police believed Fields put a razor blade in a piece of candy that was given to a white girl. Young William inadvertently alerted the police to Sherman's presence inside the walls of one of the Cabrini-Green towers, leading them to beat Fields to death. When children continued to receive candy with razor blades inside, Sherman Fields was exonerated.  Since then, the legend implies that if somebody says "Candyman" five times to a mirror, he will appear and kill the summoner.

Candyman editor, Catrin Hedström joins us while on location for her current collaborative effort with director Nia DaCosta, Marvel Studios' The Marvels.  The Swedish native first met DaCosta when she was studying at NYU.  Since then, the two have gone on to work together on the British crime drama series, Top Boy (2019) and the film, Little Woods (2018).

In our discussion with Candyman editor, Catrin Hedström, we talk about:

• Connecting to the original Candyman film
• The uncelebrated beauty of cross dissolves
• Grounding the audience to a character
• Using wide shots and negative space to create "room" for Candyman
• Her preference for scary soundscapes over using stings

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A Black Lady Sketch Show is an American television sketch comedy show created by Robin Thede for HBO. The show consists of comedic sketches performed by a main cast of Black women comedians.

The first season premiered with six episodes on August 2, 2019 and received a 2020 TCA Award for Outstanding Achievement in Sketch/Variety Shows. Though the second season was delayed due to the COVID-19 pandemic, it premiered April 23, 2021 and won three Black Reel Awards and is currently nominated for four Primetime Emmy® awards; including an Outstanding Picture Editing for Variety Programming nomination for Daysha, Stephanie and Jessica.  They went on to win that Emmy!

Los Angeles native Daysha Broadway began her career with a Master's Degree in Film Editing from Dodge College of Film and Media Arts at Chapman University.  Since graduation she has spent the past ten years editing documentary, scripted, and unscripted television.  In addition to A Black Lady Sketch Show, her credits include numerous television shows such as Insecure, 9-1-1, Twenties and Boomerang. Daysha has also contributed her talents to documentary features such as Light Girls and Surviving R. Kelly, the latter of which earned her a Peabody award.

Stephanie Filo is an award-winning editor and activist with over a decade of experience editing and producing both scripted and unscripted content.  Aside from editing film and tv, Stephanie spends much of her spare time producing and editing social action campaigns and documentaries.  Her work on the news documentary series Mental State earned her an Emmy® nomination for the episode Aging Out about youth aging out of the American foster care system. She also earned an Emmy® win for her editing on the Mental State episode Separated which covered ICE deportations, making herself and Nzinga Blake the first Sierra Leonean women to ever win an Emmy® award.

Jessica Hernández is a first generation Cuban-American filmmaker whose work ranges from scripted television to documentaries and features.  Her films include Bomb It (Tribeca 2007), The Garden (Oscar nom 2008), Karma Calling (Best Feature New Jersey Film Fest 2009), Bhutto (Competition Sundance 2010, Emmy nom, Peabody 2011), Treatment (Tribeca 2011), The Punk Singer (SXSW 2013), and The Boy Band Con (SXSW 2019).  In addition to A Black Lady Sketch Show, her 2021 scripted television projects include Adam McKay’s Untitled LAKERS series and Ava DuVernay's COLIN In B&W.

In our discussion with the A Black Lady Sketch Show editing team of Daysha Broadway, Stephanie Filo and Jessica Hernández ACE, we talk about:

• The role of the Supervising Editor
• Being the new editor on the team
• The VFX aspect of making "five minute" comedies
• Editing tools you can't live without
• Honing your editing chops in unscripted tv

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Shang-Chi and the Legend of the Ten Rings editors Elísabet Ronaldsdóttir ACE, Nat Sanders ACE and Harry Yoon ACE combined their unique skills and sensibilities to craft the heart, comedy and action that made Marvel's latest entry in the MCU a hit with audiences and critics alike.

Directed by Destin Daniel Cretton, "Shang Chi" tells the story of a skilled martial artist who was trained to be an assassin by his father at a young age.  Shang Chi chooses not to follow the same path as his father, the immortal leader of the "Ten Rings" army of assassins, and runs away to San Francisco to live a mild-mannered life parking cars.

Iceland native, Elísabet Ronaldsdóttir, is widely known for her work on high-adrenaline action films such as Deadpool 2 (2018), Atomic Blonde (2017) and John Wick (2014).  She is currently editing the action movie, Bullet Train (2022).

Once named as part of Filmmaker magazine's "25 New Faces Of Independent Cinema" in 2009, Nat Sanders is known for his work on If Beale Street Could Talk (2018), Moonlight (2016), and the tv series, Girls (2016).  Nat is also the only person has won the Independent Spirit Award for Best Editing twice.

Immediately prior to his work on Shang-Chi and the Legend of the Ten Rings, Harry Yoon was being lauded for his work with director Lee Isaac Chung on the Oscar®-nominated film, Minari (2020).  Harry's other work includes the films The Last Black Man in San Francisco (2019), First Man (2018) and Detroit (2017).

In our discussion with Shang-Chi and the Legend of the Ten Rings editors Elísabet Ronaldsdóttir ACE, Nat Sanders ACE and Harry Yoon ACE we talk about:

• Finding the beats of hand-to-hand fight scenes
• Turning a problematic open into contextual flashbacks
• Dialing in characters that exist for comic relief
• Overcoming the resistance to making big cuts that come with big costs
• Being typecast into specific genres

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Hacks editors Jess Brunetto, Susan Vaill ACE and Ali Greer each find themselves nominated for an Emmy® award for their work on Season One of their hit series.  For those not familiar with the show, Hacks is an American comedy-drama series created by Lucia Aniello, Paul W. Downs, and Jen Statsky that streams on HBO Max.  The show tells the story of two very funny women at different points in their careers.  Deborah Vance, a legendary Las Vegas stand-up comedy diva, is struggling to maintain relevance while the head of the casino where she performs tries to pare down on her performance dates. Ava is a Gen Z comedy writer who is unable to find work due to being "canceled" over an insensitive tweet. The two reluctantly team up to freshen up Vance's material, while learning to respect each other's differences along the way.

Jess Brunetto is a director, writer, producer and editor. Her film work has screened at Cannes, Venice and Sundance. Her directorial debut Sisters (2021) premiered at SXSW and was nominated for the Grand Jury Award.  In addition to Hacks, her other editor credits include; Awkwafina Is Nora from Queens (2020), Broad City (2014), American Vandal (2017) and Jordan Peele's The Last O.G. (2018), on which she also served as an associate producer.

Susan's love of music-driven storytelling has led her to be described as 'a legendary music supervisor masquerading as an award-winning editor.'  After assistant-editing documentaries and feature films like The Last Samurai (2003), Susan edited over 70 episodes of Grey's Anatomy (2005) which won the Golden Globe for Best Drama Series in 2008. Susan also directed three episodes of the series, one of which featured an Emmy-winning performance by guest actress Loretta Devine.  In addition to Hacks, her other television editor credits include; Space Force (2020), Grandfathered (2015), Me, Myself and I (2017), This Is Us (2016), and Lodge 49 (2018).

In addition to her Emmy® nomination for Hacks, Ali was twice nominated for an ACE Eddie award for her work on the series, Portlandia.  In fact, Ali's editorial career is highlighted by several standout series in the comedy genre.  Her time as an assistant editor was punctuated with a stint 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) and Schmigadoon! (2021).

In our discussion with the Hacks editing team of Jess Brunetto, Susan Vaill ACE and Ali Greer, we talk about:

• The money is no object approach to needle drops
• The danger of checking your email on a Friday night
• Breaking the rules of network television
• Honoring When Harry Met Sally
• Doing mixes over Zoom...in a car

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Free Guy editor, Dean Zimmerman ACE wrapped working on location for the film exactly two years ago.  Like so many movies lately, Free Guy had been locked in a pattern of pandemic postponement.  It was originally supposed to be released late in the spring of 2020, but then got bounced around until it eventually hit theaters on August 13th of 2021.

Free Guy stars Ryan Reynolds as a bank teller who discovers he's actually an NPC (non-playable character) in an MMORPG (massive multiplayer online role-playing game).  With the advent of his self-awareness, Guy decides to become the hero of the story and save his friends from deletion by the game's creator, played by Taika Waititi.

Free Guy finds Dean collaborating once again with director and longtime friend, Shawn Levy.  The two have been working together for over twenty years on projects like the Night at the Museum franchise and a little series called Stranger Things.  In fact, a lot of Dean’s crew from Stranger Things is on board for Free Guy.  Assistant editor Kat Naranjo, VFX editor Brad Tobler and sound editor Craig Henighan are all on hand for the film.  So, clearly Dean takes a family-oriented approach to putting a crew together and keeping them together.  And editing is a family business in more ways than one for Dean.  His father, Don Zimmerman, is a highly accomplished editor in his own right.

Dean is currently working on Shawn Levy's upcoming film with Ryan Reynolds, The Adam Project (2022).

In our discussion with Free Guy editor, Dean Zimmerman ACE, we talk about:

• The pain of cutting out Taika Waititi scenes
• Questions editors ask test screening audiences
• How working on Free Guy compares to Stranger Things
• Why stereo is better than 5.1 monitoring
• Teaching the Duffer brothers about "cowboy shots"

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The Suicide Squad editors, Fred Raskin ACE and Christian Wagner join forces once again to assist director James Gunn with his latest movie; a standalone sequel to Suicide Squad (2016) and the tenth film in the DC Extended Universe.  The film features Gunn's patented take on action and comedy, plus a little blood, guts and gore for good measure.

To help him with the latest installment in the DCEU, James called on an old friend from his Marvel days, editor Fred Raskin.  Fred worked with Gunn on both Guardians of the Galaxy films, so James knew quite well that Fred was up for the challenge of The Suicide Squad.  In addition to his work with Gunn, another prominent director that Fred is known to cut for is Quantin Tarantino.  Fred handled the editorial duties for Django Unchained, The Hateful Eight and, most recently, Once Upon a Time in Hollywood.

While Quentin Tarantino has written AND directed most of his films, True Romance is one of the few that he wrote but did not direct.  It was directed by Tony Scott and edited by a man Mr. Scott worked with quite often throughout both of their careers, editor Christian Wagner.  In addition to True Romance, Chris also cut Man on Fire, The Last Boy Scout, Days of Thunder and several more films for Scott.  When he wasn’t cutting for Tony Scott, Chris spent a little time on some of the "Fast and Furious" films.  Two of which, Fast and Furious and Fast Five, Chris co-edited with Fred Raskin.  The Suicide Squad sees the two editors reuniting for the third time.

In our discussion with The Suicide Squad editing team of Fred Raskin ACE and Christian Wagner, we talk about:

• Collaborating with a co-editor for the first time
• Scaling back the Harley Quinn sub-plot
• The sacrifices editors make in working remotely
• Directors who don't understand pre-viz
• Mentoring the next generation of super hero editors

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The UFO post production team of editor Paul Crowder ACE and lead assistant editor Ede Bell Crowder didn't just share the workload on JJ Abrams' new docuseries for Showtime, they also share the same last name.  Ede had to look no further than her own father, veteran documentary editor Paul Crowder ACE, to know that she wanted to be an editor.  While she's hoping for a career in scripted editing, the chance to work with her dad on such a high-profile project was too good to pass up.  Together, with the rest of the post team, Paul and Ede created a riveting series that raises new questions about the phenomenon of unidentifiable flying objects; including what the U.S. government might have known (and covered up) all along.

A British-born musician turned filmmaker now living in the USA, award-winning editor Paul Crowder ACE is best known for documentaries such as; Dogtown and Z-Boys, Riding Giants, Sound City and The Beatles: Eight Days a Week - The Touring Years.  Paul is also known for directing the films Amazing Journey: The Story of The Who and 1.  He can also be seen around Los Angeles playing with the classic power pop band, The Automatics.

Daughter of editor/director Paul Crowder ACE, Ede is a recent graduate of the University of North Carolina film program.  Prior to her work on UFO, Ede had been sharpening her editorial skills on numerous short films.

In our discussion with UFO editor Paul Crowder ACE and assistant editor Ede Bell Crowder, we talk about:

• The critical decisions that go into the opening of a series
• Using reaction shots to comment on...comments
• Whether or not to use image manipulation tools on UFO footage
• How to manage large amounts of media for remote workflows
• A second-hand account of an actual UFO sighting

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Framing Britney Spears editors Geoff O'Brien and Pierre Takal joined forces to take on the monumental editorial challenge of compressing twenty years into just over an hour of screen time to tell a story that is both informative and provocative.  Released on February 5, 2021 as an edition of The New York Times Presents on FX and FX on Hulu, the documentary explores Spears's rise to fame as a pop star, her treatment by the paparazzi, her highly publicized breakdown in 2007, and her court-mandated conservatorship overseen by her father.  The documentary received critical acclaim and garnered two nominations at the 73rd Primetime Emmy® Awards; including a nomination for Geoff and Pierre's work in the cutting room.

Aside from his work on Framing Britney Spears, Geoff has been a major creative contributor and editor for series including The Weekly from The New York Times, Fiasco on Epix and PBS's Frontline. He also worked on three award-winning feature documentaries, Note By Note: The Making of Steinway L1037; Brick By Brick (a documentary that chronicles segregation in the Yonkers public school system) and It Started As A Joke (chronicling Eugene Mirman and his comedy festival).

In addition to his work on the New York Times Presents series, Pierre has cut for the PBS investigative series, Frontline and on documentaries such as Eagle Huntress, Rats, I am Human and One Direction: This Is Us.  But that's not all.  Not only does Pierre Takal do Emmy®-worthy work in the editing room, he's also an accomplished composer, at times taking on both composing and editing duties on the same project.

In our discussion with Framing Britney Spears editors Geoff O'Brien and Pierre Takal, we talk about:

• Utilizing the resources of The New York Times
• Collaborating  remotely during the pandemic
• Quickly setting the context for the conservatorship controversy
• Knowing where to stop on a story that is still unfolding
• How this project evolved their opinions of their own industry

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Editors Greg Finton ACE and Lindsay Utz ACE hadn't worked together prior to Billie Eilish: The World's a Little Blurry, but they each had plenty of experience in the world of unscripted storytelling to bring to the table for director R.J. Cutler's film.  The story centers around singer-songwriter Billie Eilish and reveals the behind the scenes creation process of her debut studio album When We All Fall Asleep, Where Do We Go?   Released in select theaters via Neon and on Apple TV+ on February 26, 2021, the film has garnered four Primetime Emmy® nominations, including Outstanding Picture Editing for Variety Programming for Greg and Lindsay.

Although Greg had previously worked with "Billie Eilish" director R.J. Cutler on the series American High, Greg's storied career in documentary editing actually began in the film cutting rooms of some legendary scripted editors.  Working as an assistant to editors such as Lynzee Klingman ACE (A River Runs Through It) and Sandra Adair ACE (Dazed and Confused), Greg learned first hand how just changing the rhythm and pace of the dialogue can have a big impact on the way a scene felt.  Greg took this knowledge into his work on highly acclaimed documentaries such as It Might Get Loud, He Named Me Malala and Robin Williams: Come Inside My Mind.

Prior to teaming up with Greg and R.J. Cutler for the "Billie Eilish doc", Lindsay had made quite a name for herself in the documentary world, having been nominated for both an Emmy® and an ACE Eddie award for her work on the Oscar®-winning documentary, American Factory.  A recipient of the 2012 Karen Schmeer Fellowship, Lindsay's talent as a storyteller can also be seen in the documentary projects; Bully, Quest, Miss Americana, as well as the experimental narrative feature, Buoy.

In our discussion with the editing team of Greg Finton ACE and Lindsay Utz ACE, we talk about:

• Enjoying the challenge presented by documentary editing
• The deep reservoir of footage afforded by the cell phone era
• Lower thirds being a crucial decision in doc filmmaking
• How award nominations can impact a documentary editor's career
• The advantages of starting out as an assistant in film cutting rooms

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Prior to making his mark on the MCU, Paul had worked with some of today's most innovative filmmakers; from Harmony Korine (Mister Lonely) and Michel Gondry (Eternal Sunshine of the Spotless Mind, to Lena Dunham (Girls, Camping).  Paul cut his first feature at age 24 for Gus Van Sant (Gerry).  Moving easily between independent and studio projects, he has worked with such noted directors as Tom Dicillo, Joel Schumacher, and Mike Judge (the pilot episode of Silicon Valley). He has also edited two films for Judd Apatow (This is 40 and Trainwreck, for which he received an ACE award nomination). Paul is also an accomplished commercial editor and a member of American Cinema Editors.

Emma McCleave studied at Flinders University Film School in Adelaide, Australia, and within the York University Film program in Canada. On graduation, Emma moved to Sydney where she started her career as a Commercials Assistant Editor, before moving to films in 2008. Through her career Emma trained under some of the most prolific editors in the film industry, including Dody Dorn ACE (Australia, London Boulevard, Fury, Come Away), Michael McCusker ACE (Australia, Captain America: The First Avenger), Chris Dickens ACE (Rocketman), Conrad Buff ACE (Thor: The Dark World, Infinite) and Paul Hirsch ACE (The Mummy).

Calum Ross has been in TV cutting rooms for fourteen years.  Over that time he has routinely taken on one of the most feared genres in editing, comedy.  Calum has been in the cutting rooms of shows such as Pixelface, Murder in Successville, Lovesick, Action Team and his latest work featuring the comedy duo of Sue Perkins and Mel Giedroyc, Hitmen.  But it was his work on the Netflix original series, Sex Education that first introduced him to director Kate Herron, a job that would ultimate land him on Marvel's Loki, once again working with Kate.

In our discussion with the Loki editing team of Paul Zucker ACE, Emma McCleave and Calum Ross, we talk about:

• Editorial Easter Eggs
• The demands of a Marvel series compared to a Marvel feature
• Integrating footage from Avengers: End Game to set up the pilot
• Having to let go of The Frog of Thunder
• Who is the True Loki

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Editors, Matthew Schmidt and Leigh Folsom Boyd are no strangers to the Marvel Universe, yet Black Widow represents the first time they've ever worked together on a project.  It's also the first Marvel film for indie director, Cate Shortland.

Black Widow is the 24th film in the MCU, but the first in the franchise's "Phase Four".  Eagerly awaited since it was announced after Avengers: End Game, the film has suffered multiple delays in its release due to the pandemic.  Taking place after the events of Captain America: Civil War, Black Widow delivers the long overdue backstory and greater depth of focus on the character of Natasha Romanoff (aka Black Widow).

Matthew's career with Marvel dates back to The Avengers.  Back then he was an assistant on that film as well as first assistant on Iron Man 3.  Matt then made the jump to editor on Captain America: The Winter Soldier and would go on to co-edit the Marvel films, Avengers: Age of Ultron, Captain America: Civil War, Avengers: Infinity War, Avengers: End Game and Black Widow.

Even before joining the Marvel Cinematic Universe to co-edit Ant Man and Spiderman: Far From Home, editor Leigh Folsom Boyd had plenty experience cutting blockbuster action movies.  Her impressive resume includes films like Fast & Furious, Fast Five, Fast & Furious 6, Furious 7, Pirates of the Caribbean: Dead Men Tell No Tales and Total Recall (2012).