Today on Art of the Cut we speak with Oscar-nominated editor, Sandra Adair, ACE, about the Richard Linklater film, Blue Moon.
Sandra was last on Art of the Cut for her last collaboration with Linklater, Hit Man. Before that we spoke about her film Where’d you Go, Bernadette. She was nominated for an ACE Eddie for her work on School of Rock. And she was nominated for an Oscar and won an ACE Eddie for her work on Boyhood. Her other work includes Dazed and Confused, A Scanner Darkly, and Bernie.
In this interview Sandra discusses the secrets to editing overlapping dialogue, the importance of eye-lines, and the value of having a long history editing an actor.
You can read along with this interview audio on the BorisFX website and see trailers, clips, exclusive photos and timeline screenshots. Go to:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with multi-Emmy nominated editor Tricia Reidy, ACE about editing Ken Burns’ documentary series, The American Revolution.
Tricia has edited for Ken Burns and Florentine Films since college starting with the documentary series The Civil War which she edited with Paul Barnes and Bruce Shaw. Also, Frank Lloyd Wright (Emmy nomination for editing), and The War, (also nominated for an Emmy). Others include Vietnam, The Roosevelts, and Muhammad Ali.
The American Revolution was also edited by Maya Mumma, ACE and Craig Mellish, ACE. Maya and Craig were not included in this interview, but have both been featured on Art of the Cut in the past.
This interview discusses how the show’s theme shaped the structure, the role of subtext in the opening shot, and the impact of the many celebrity voice over actors on the film’s pacing and even it’s music.
If you'd like to read along with this podcast, check out the BorisFX.com blog to get the transcript of the interview along with exclusive photos, clips, trailers, and a timeline screenshot. Visit:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-nominated editor Tom Eagles, ACE, about editing the film Nuremberg.
Tom was on Art of the Cut previously to talk about The Harder They Fall. Before that I spoke to Tom about his BAFTA and Oscar-nominated film - and WINNER of the 2020 ACE Eddie for Best Edited Feature film, JoJo Rabbit.
Tom has also edited films like Hunt for the Wilderpeople and TV series like What We Do in the Shadows, Ash versus the Evil Dead and Spartacus: Blood and Sand.
This interview discusses choosing performances to hide story revelations, the importance of POV, and using less intercutting to actually break an un-desired connection between characters.
You can read along with this interview and see exclusive photos and timeline screenshots on the BorisFX blog site:
borisfx.com/blog/aotc
Today we’re speaking with Oscar-nominated Australian-born editor, Paul Machliss, ACE. We’ll be talking about his latest collaboration with director Edgar Wright, “The Running Man.”
Paul last chatted on Art of the Cut when he cut Wright’s “Last Night in Soho,” and before that for “Baby Driver” for which he won a BAFTA, and was nominated for an ACE Eddie and an Oscar.
Paul was also nominated for an ACE Eddie for his work on “Scott Pilgrim versus the World.” He’s edited TV, including “Fleabag.” And dozens of musical specials, documentaries and concerts for the likes of Led Zeppelin and Diana Krall.
This interview discusses how Paul’s early career as an on-line editor helped him on this film, the value of editing on-set, and the technology that kept the whole post machine whirring.
If you want to read along with this interview, you can check it out on BorisFX.com's blog site:
borisfx.com/blog/aotc
Today on Art of the Cut, we speak with multi-Oscar-nominated editor, Myron Kerstein, ACE, about editing Jon Chu’s Wicked for Good.
Chu and Kerstein last worked together - of course - on Wicked. And before that on tick, tick… BOOM. Before THAT they collaborated on In the Heights. And before THAT on Crazy Rich Asians - and we’ve talked about ALL of those films here on Art of the Cut.
Kerstein’s previous work as an editor includes the feature films Going in Style, Garden State and Glee: The 3D Concert Movie. He’s also expanded his talents to the director’s chair, but that’s a topic for another interview.
This interview discusses the value of story cards on a wall, the complexities of editing vocals recorded live during filming, and the implications of this film’s darker tone and operatic power.
If you'd like to read along with this inteview and see exclusive photos, check out the BorisFX blog site:
borisfx.com/blog/aotc
Today, we’re talking to Evan Schiff, ACE about editing Guillermo del Toro’s Frankenstein which is available now on Netflix.
Evan’s feature editing career includes Nobody, Southside With You, John Wick Chapter 2 AND Chapter 3, and Birds of Prey, among others.
Today: A discussion of the importance of editing speed while collaborating, the advantage of having the time for many screenings, and how being a “sound-aware editor” can shape the story.
If you'd like to read along with this interview and see exclusive photos and a timeline screenshot, visit the BorisFX.com blog site at:
borisfx.com/blog/aotc
Today on Art of the Cut, we’re talking with Yorgos Mavropsaridis, ACE, the editor of Yorgos Lanthimos’ latest film, Bugonia.
Yorgos has been on Art of the Cut before for Poor Things and for The Favourite for which he was nominated for an Oscar and a BAFTA, and won an ACE Eddie. He was also an ACE Eddie nominee for The Lobster. In addition he edited The Killing of a Sacred Deer among over 100 other international film credits.
Today’s discussion is about a 30 year career collaborating with the same director, understanding the philosophical aspects of editing, and how to collaborate with the film’s … audience.
If you'd like to read along with this interview and see exclusive photos and clips and trailers, please visit the BorisFX blog site.
borisfx.com/blog/aotc
Today on Art of the Cut we talk with multi-Oscar winning editor Kirk Baxter, ACE about editing Oscar-winning director, Kathryn Bigelow’s film, A House of Dynamite, now playing on Netflix.
Kirk’s been on Art of the Cut before to discuss Gone Girl, Mank, and The Killer and the TV series, Mindhunter. His other films include The Girl with the Dragon Tattoo, Social Network, The Curious Case of Benjamin Button, and Zodiac.
Today’s discussion is about the traits of a good editor, the advantages of cutting a movie linearly, and the sensitive nature of the editing room.
You can read along with this podcast and see clips and exclusive photos and timeline screenshots at BorisFX's blog site: borisfx.com/blog/aotc
Today on Art of the Cut we talk with Tyler Nelson, ACE, about editing Tron Ares.
Tyler’s been on Art of the Cut before numerous times including for his editing of The Batman, Creed III, and Mindhunter. He’s also been an editor on Love, Death and Robots and Shadow and Bone.
Today’s discussion includes a discussion of the use of previs, building rip-o-matics with Shot Deck, and juggling the power of a score by Nine Inch Nails with incredible sound design.
If you want to read along with this podcast you can visit BorisFX's blog site to see timeline screenshots, exclusive photos and more.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-nominated editor Barry Alexander Brown, ACE about editing Spike Lee’s latest film, Highest 2 Lowest.
Barry’s been on Art of the Cut before to discuss editing BlacKkKlansman, for which he was nominated for an Oscar and an ACE Eddie.
He was also nominated for an Oscar for The War at Home, a documentary he co-directed. His other films with Spike include sound design on She’s Gotta Have It, and editing on School Daze, Do the Right Thing, Malcolm X, Crooklyn, He Got Game, and Summer of Sam, among others. Barry’s also directed several feature films including The Who's Tommy:, the Amazing Journey, and Lonely in America.
If you want to, you can read along with this podcast on BorisFX's blog site.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Brian Kates, ACE, about editing Bill Condon’s Kiss of the Spider Woman.
Brian’s work includes feature films like Savages, Killing Them Softly, and Shortbus. Also documentaries like All the Beauty and the Bloodshed for which he was nominated for an ACE Eddie, and TV series like Succession, The Marvelous Mrs. Maisel, for which he won an Emmy, and Treme. In addition to his numerous nominations he has won two Emmys and two ACE Eddies.
Today’s discussion covers the tonal shifts between Technicolor music fantasy and imprisoned reality, managing to maintain a diverse filmography, and the joys and challenges of editing a musical.
You can read along with this interview at BorisFX's blog site.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with three members of the post team for Paul Thomas Anderson’s latest film, One Battle After Another.
Joining us are editor Andy Jurgensen, associate editor, Jay Trautman, and film assistant editor, Andrew Blustain. The film was shot in two different film formats including VistaVision and the film was finished in a variety of formats, leading to a complicated and fascinating post process.
Andy Jurgensen has been on Art of the Cut before for another Paul Thomas Anderson film, Licorice Pizza, for which he was nominated for a BAFTA and an ACE Eddie. Andy was also an assistant editor on Phantom Thread, Bombshell, Trumbo, and Inherent Vice.
Jay Trautman was a Visual Effects Assistant Editor on Dune 2, an assistant editor on Oppenheimer, first assistant editor on Licorice Pizza, and was an assistant editor on The Book of Bobba Fett, Grey’s Anatomy, and House of Cards.
Andrew Blustain was an assistant editor on Tenet, visual effects assistant editor on Dunkirk, an assistant editor on Oppenheimer, and second assistant editor (film) on Once Upon a Time in Hollywood.
Today’s discussion covers the technical details of the film’s VistaVision film production, the importance of creating dynamics, and the calibration of tone necessary to pull of the film’s transitions from dramatic to comic.
You can read along with this interview and see some cool excluisve photos, plus trailers, movie clips and featurettes by visiting the Boris FX website and blog at
borisfx.com/blog/aotc
Today on Art of the Cut, it’s my pleasure to speak with ACE Eddie-winning and Emmy-winning editor, Taylor Mason, ACE, about the film Him.
Taylor has been on Art of the Cut before for the feature film, Birth/Rebirth. She has also edited A Black Lady Sketch Show, Dahmer: Monster - The Jeffrey Dahmer Story, and Pose. She’s also been an assistant editor on Bladerunner 2049, Dune, and DC League of Super-Pets.
Today’s discussion is about leaning into the film’s themes for inspiration, and how Taylor used her own sports background and her father’s Super Bowl-winning career to lend authenticity to critical scenes.
You can read along with this podcast on the blog site which includes exclusive photos, clips and trailers.
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Bob Joyce about editing “Spinal Tap II: The End Continues.”
Bob’s been nominated for a Emmy and an ACE Eddie for editing “Albert Brooks: Defending My Life.” Among other films his other work includes two other Rob Reiner features, Shock and Awe, and LBJ.
Today’s discussion is about the collaboration process with director Rob Reiner, using a synced recording of an audience screening to refine comic pacing, and why fantastic comic moments get deleted.
If you'd like to read along with this interview and see clips, trailers, timeline screenshots and exclusive photos, visit the BorisFX blog site:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Oscar-nominated editor, Andrew Weisblum, ACE, about cutting Darren Aronofsky’s film, Caught Stealing.
Andrew’s been on Art of the Cut before to discuss The French Dispatch, Alice Through the Looking Glass, and tick, tick, BOOM! - for which he was nominated for an Oscar and won an ACE Eddie. He was also nominated for an Oscar for editing Black Swan. His other work includes Wolfs, The Whale, Mother, and Isle of Dogs.
Today’s discussion is about the value of editing on-set, the benefits of having the editor speak into the script, and the dangers of reading the source material.
If you'd like to read along with this podcast and see clips, trailers and stills from the movie, visit the Boris FX blog site:
Borisfx.com/blog/aotc
Today on Art of the Cut we speak with editor Matt Villa, ACE about working with Ron Howard on his new film, Eden.
Matt’s been on Art of the Cut before for his editing of Elvis, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie . His other films include The Great Gatsby, Peter Rabbit 2, and The Lego Batman Movie for which he was nominated for an ACE Eddie.
Today’s discussion is about compressing a 3:40 editors cut down to size, finding subtext in performance, and so much more.
If you'd like to read along with this podcast, visit the BorisFX blog at: borisfx.com/blog/aotc
Today on Art of the Cut we’re speaking with editor Elísabet Ronaldsdóttir, ACE, and first assistant editor, Matt Absher about editing Nobody 2.
Elisabet has been on Art of the Cut before for Atomic Blonde, Shang Chi and the Legend of the 10 Rings, Bullet Train, and The Fall Guy. Elisabet has also edited Love Hurts, Kate, Deadpool 2, and John Wick.
Matt was on Art of the Cut with Elisabet for The Fall Guy. He was first assistant editor with Elisabet on all the aforementioned productions and has also been a first assistant editor on Us and Nope.
This week’s episode features an in-depth discussion of how to cut two movies at the same time, how the assistant director is the captain of the ship, and why Elisabet got a co-producer credit.
If you want to read along with this interview with clips, trailers and photos, go to the BorisFX blog site:
borisfx.com/blog/aotc
Today on Art of the Cut we speak with Joe Murphy about editing the new Zach Cregger movie, Weapons.
We last spoke to Joe and director Zach Cregger about their last collaboration, Barbarian. Joe’s other editing work includes features like Swallow, Don’t Come Back from the Moon and Beach Rats. His TV episodic work includes A Friend of the Family.
This week’s episode features an in-depth discussion of how to maximize a jump scare, the benefits of working with the director on multiple projects, and the value of NOT temp scoring the movie.
If you want to read along with the podcast, you can do it at the BorisFX blog!
borisfx.com/blog/aotc
Today on Art of the Cut I’m speaking with Emmy-nominated editor, Susan Vaill, ACE, who’s joined by her assistant editor, Stephanie Goldstein to discuss editing the HBO series, Hacks.
Susan edited 70 episodes of Grey’s Anatomy and also directed three episodes. She won an ACE Eddie for editing Hacks, and this is her second Emmy nomination for the show. She’s also edited Abbott Elementary, The Time Traveler’s Wife, Space Force, and This is Us.
Stephanie has been an assistant editor on Gotham, Brooklyn 9-9, and Single Parents. She was bumped up to the editor’s chair on that show for 2 episodes.
On this episode, we talk about how an editor transitions to directing, understanding the process of notes and revisions, and - since this episode of Hacks is nominatead for an EMmy, how do you judge editing?
Today on Art of the Cut, Eric Kissack, ACE is here to discuss his Emmy-nominated editing on Seth Rogen’s TV series, The Studio.
In addition to his Emmy nod for The Studio, Eric’s been nominated for three ACE Eddies and an Emmy for The Good Place, and an Emmy for Veep, among lots of other films and TV series.
In this episode, Eric discusses the difficulties of editing a show that’s supposed to basically look like a oner for every scene, the fear of not being the funniest guy in the cutting room, and being on-set to essentially edit LIVE.
You can read along with this podcast and see great exclusive images, trailers and more at borisfx.com/blog/aotc.