Art of the Cut

Today on Art of the Cut we’re talking with one of the editors of the Netflix mini-series, Griselda. Kelly Stuyvesant joins us for this conversation. The other editors on the series are Joaquin Elizondo and Christopher Cavanaugh.

Kelly’s credits include work on Agents of SHIELD, Helstrom, and The Sandman. 

Don't forget to follow along with this podcast on Boris FX's blog, the transcribed interview is available with trailers, clips, timeline screenshots and all kinds of great material,

borisfx.com/blog/aotc

Today on Art of the Cut we’re talking with one of the ACE Eddie winning editors of “Escaping Twin Flames,” which won the Eddie for Best Edited Documentary, non-theatrical.

Inbal Lessner was the Executive Producer and Supervising editor. We last spoke with Inbal for Seduced: Inside the NXIVM Cult “Exposed” which was nominated for an ACE Eddie in 2021.

Her other work includes the documentary,  Brave Miss World, and work on CNN’s series of “decade” defining documentaries - for which she was nominated for an ACE Eddie.  In addition to her documentary work, she was an additional editor on Natalie Portman’s directorial debut, A Tale of Love and Darkness. 

Follow along with the transcript and great visuals, including trailers, clips, timeline screenshots and more at:

borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking to the winner of the Indie Spirit Award for Best Editing: Daniel Garber, about his work on the film How to Blow up a Pipeline.

Daniel’s other work includes the feature film, Cam - which was also a collaboration with his “Pipeline” director, Daniel Goldhaber. Daniel has also worked in documentary editing on films like Some Kind of Heaven, and the documentary series, Naomi Osaka. He was also an additional editor on the Sundance documentary Riotsville, USA, which we featured on Art of the Cut several years ago.

Don't forget that you can read along with the podcast at borisfx.com/blog/aotc, where there are great timeline screenshots, images of the Premiere Productions set-up, trailers and clips!

Today on Art of the Cut, we’re talking about Ghostbusters: Frozen Empire with editors Nathan Orloff and Shane Reid.

Nathan’s been a guest on Art of the Cut a few times including for the last Ghostbusters - Afterlife, and also for John Wick 4.

Shane Reid is coming from the world of TV spot editing - as you’ll hear in the interview and music videos. He’s really starting off his feature film career with this film and - amazingly - another in just a few months - Deadpool & Wolverine.

Today on Art of the Cut, we’re talking with Oscar winner, Joe Walker, ACE. I interviewed Joe in person just before the ACE Eddies at his home on a rainy Los Angeles day… you may hear some of that in the background.

Joe was one of the very first Art of the Cut guests on March 18th, 2014 - a decade ago - when he was nominated for an Oscar, a BAFTA and an ACE Eddie for his editing of 12 Years a Slave. Since then we’ve talked about his work on Sicario - another ACE Eddie nomination - Arrival - BAFTA and Oscar nominations and an ACE Eddie win - Bladerunner 2049 - BAFTA and ACE Eddie nominations -, then Widows, then Dune - for which he was nominated for a BAFTA and an ACE Eddie and won the Oscar - , then, most recently we talked when he cut The Creator, and now - Dune 2. Eight great discussions that you should go back and have a listen to!

Joe has a lovely ability to edit instinctively, but be able to explain where that instinct is coming from, plus, you just want to grab a beer or a cup of tea and listen - just to feel part of a great, fun conversation.

Today on Art of the Cut, we’re talking with multi-Oscar winner, Walter Murch, ACE. I interviewed Walter in person just before his appearance at the 2024 ACE Eddie Awards to receive his Career Achievement Award - an award which was presented by his long-time friend and collaborator, George Lucas.

Murch's career is filled with cinematic cultural touchstones.

He was nominated for an Oscar for sound and won BAFTAS for both sound and editing on The Conversation. He was nominated for a BAFTA and an Oscar for editing Julia. For Apocalypse Now, he was nominated for an Oscar for Editing, BAFTAs for editing AND sound, an ACE Eddie … and won the Oscar for sound. In 1991 he was nominated for Oscars for both The Godfather Part II AND Ghost, and was nominated for an ACE Eddie for Ghost. For The English Patient he was nominated for a BAFTA for sound, and won a BAFTA for editing, not to mention winning an ACE Eddie and TWO Oscars for sound AND editing. He was nominated for an ACE Eddie for The Talented Mr. Ripley. He was nominated for two BAFTAs - for sound and editing - and for an ACE Eddie and an Oscar for “Cold Mountain.” He was nominated for an Emmy for “Hemingway and Gelhorn,” for which he ALSO won an ACE Eddie.  

On top of all of this, he has been writing a book on filmmaking - actually two volumes! - with the first volume releasing later this year, focusing on editing and sound, and the second volume coming next year. Most of the following interview focuses on the thoughts and concepts outlined in that book, which is called “Suddenly Something Clicked.”

This very special episode happens to be the 10th anniversary episode of Art of the Cut! 10 years... nearly 500 interviews.

There is a TON of great visual content in the accompanying blog. Please listen to the podcast and follow along with the transcript at borisfx.com/blog/aotc. Many photos of Murch at the Moviola, clips from the films we discuss and more.

Today on Art of the Cut, we’re talking with two of the three editors of Matthew Vaughn’s comedy/action film, Argylle.

Joining us for today’s discussion are Tom Harrison-Read and Oscar-winning editor Lee Smith, ACE.

Lee’s been on Art of the Cut several times including for Dunkirk, 1917, Dark Phoenix, and Spectre. Lee was nominated for a BAFTA for The Piano, for an Oscar and an ACE Eddie for Master and Commander. Nominated for an Oscar, a BAFTA, and an ACE Eddie for The Dark Knight. Nominated for a BAFTA and an ACE Eddie for Inception. And he was nominated for a BAFTA and won an Oscar and an ACE Eddie for Dunkirk.

Tom has edited Tomb Raider, In Darkness, and Children of the Corn. He’s also been an assistant editor or additional editor on lots of major tentpole films, including Wonder Woman 1984, Rogue One: A Star Wars Story, Mission: Impossible - Rogue Nation, Captain Phillips, Scott Pilgrim vs. the World, and Quantum of Solace.

Make sure to check out the transcribed version of this interview with lots of great images and video - heck, you can read it AND listen at the same time - at borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with the editors of the ACE Eddie nominated documentary, American Symphony.

Sammy Dane steps into the edit chair for the first time. His previous films include assistant editing on After Shock, The Boy From Medellin, 16 Bars, and Hip Hop, the Songs that Shook America. 

Jim Hession has cut Marina Amramovic: The Artist is Present, the TV series The Deep End, Philly D.A., and David Blaine: The Magic Way.

And Fernando Villegas has cut HBO Boxing, Golden, The Journey of USA’s Elite Gymnasts, and After Jackie.

The film’s director - Matthew Heineman - is also credited as an editor on the film.

Today on Art of the Cut, we’re talking with editor Laurent Sénéchal who is nominated for an Oscar for Best Editing and an ACE Eddie for his work on the Oscar Best Picture nominee, Anatomy of a Fall. His previous work - for the last nearly 20 years - has been in French and European TV and features.

Today on Art of the Cut, we’re talking with editor Keith Fraase, about the Oscar Best Picture nominated film, “Past Lives.” Keith is also nominated for an ACE Eddie for Best Edited Dramatic Feature for the film.

Keith’s past work includes the feature films: Knight of Cups, To the Wonder, Chappaquiddick, and Song to Song. 

There's a lot of great exclusive and personalized visual content - timelines, screenshots of bins, WFH set-ups, etc. - on the blog, so you can read along there! borisfx.com/blog.aotc

Today on Art of the Cut, we’re talking with editors Geraud Brisson, ACE, and Daniel Martens about their ACE Eddie nomination for their episode - the finale of Lessons in Chemistry. The series was also edited by Matthew Barbato, Laura Zempel, ACE, Jack Cunningham, and Lilly Wild.

Geraud was previously a guest on Art of the Cut to discuss CODA when it won the Oscar for Best Picture. His other projects include Camp X-Ray and the TV series Counterpart. He’s currently editing the TV series Shogun.

Daniel edited the feature Katie’s Mom and episodes of the TV series Suits. He was an additional editor on the feature Captive and the TV series New Amsterdam.

Today on Art of the Cut, we’re talking with editor Jon Poll, and additional editor, Kheireddine El-Helou. They’ve joined us to talk about The Color Purple.

Jon’s credits include Father of the Bride, Bombshell, The Greatest Showman, Meet the Fockers, and Austin Powers: The Spy Who Shagged Me, among many others.

Kheireddine has also been an additional editor on films like Father of the Bride and Blackhat, assistant editor on Power Rangers and Muppets Most Wanted, among others.

If you want to read along and have access to great visual and multi-media support for this episode, check out borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Hilda Rasula, ACE, about editing “American Fiction” which won the AFI’s Movie of the Year Award and was nominated for a Spirit Award, a Critic’s Choice award, a Golden Globe and the PGA for best picture and could be on the list for the Oscar.

Hilda’s previous features include Moving On, Vengeance, French Exit and the TV series, Our Flag Means Death, among many other projects.

Don't forget to follow along with the transcription which includes lots of great images and video clips and trailers at borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with Yorgos Mavropsaridis, ACE, the editor of Oscar-shortlister, Poor Things.

Yorgos was an ACE nominee for The Lobster. He was nominated for a BAFTA and an Oscar and won the ACE Eddie for The Favourite. In addition he’s edited The Killing of a Sacred Deer, and has over 100 international film credits. Yorgos was a previous guest on Art of the Cut for The Favourite.

There are great clips and timeline screenshots and trailers available, so if you want, you can read along with the podcast at borisfx.com/blog/aotc!

Today on Art of the Cut, we’re talking with  Oscar-winning editor, Pietro Scalia, ACE about editing Michael Mann’s Ferrari.

Scalia won the Oscar and an ACE Eddie for JFK. Was nominated for an Oscar and an ACE Eddie for Good Will Hunting.  Won a BAFTA and an ACE Eddie and was nominated for an Oscar for Gladiator. Won an Oscar and an ACE Eddie and was nominated for a BAFTA for Black Hawk Down. Nominated for another BAFTA for American Gangster. And was nominated for a BAFTA and an ACE Eddie for The Martian.

Pietro has been on Art of the Cut before to discuss his work on The Martian and Alien Covenant. Pietro’s other work includes Solo: A Star Wars Story, and The Amazing Spider-Man 1 and 2.

Today on Art of the Cut, we’re talking with  BAFTA nominee, Mark Everson, about editing Wonka.

Mark has edited both of the Paddington movies, Dora and the Lost City of Gold, and Johnny English Strikes Again. His TV work includes Tracey Ullman’s Show, The Toast of London, and his BAFTA nomination for The Mighty Boosh.

Please check out the transcribed interview - with visuals - at borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with  Emmy and ACE Eddie winning editor, Michelle Tesoro, ACE about editing Bradley Cooper’s Maestro.

Michelle won an Emmy and an ACE Eddie for editing Queen’s Gambit. 

She also edited the feature films Flag Day and On the Basis of Sex. And TV series including Fringe, House of Cards, When They See Us, and Ballers.

Today on Art of the Cut, we’re talking with Oscar-winning editor Zach Staenberg, ACE about editing John Woo’s latest film, “Silent Night.” 

Zach won an Oscar and an ACE Eddie for original Matrix film. He’s also been nominated for an Emmy and won an ACE Eddie for “Gotti.” His other work includes Ava, Pacific Rim: Uprising, Speed Racer, Matrix Reloaded, Matrix Revolutions. and Police Academy.

If you want to read this interview with visual support, check out borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with Oscar-winner, Claire Simpson and Sam Restivo about editing Ridley Scott’s “Napoleon.”

Claire won an Oscar, a BAFTA, and an ACE Eddie for editing Platoon. She won a BAFTA and was nominated for an Oscar and an ACE Eddie for The Constant Gardner. Other films include Nine, Wall Street, and The Last Duel. 

Sam Restivo has been an additional editor on several films including The Greatest Showman, The Last Duel and House of Gucci. He was also an additional editor on the TV series Raised By Wolves.

Don't forget to READ this interview with great visual support at borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with Kevin Tent, ACE, about his long-time collaboration with director Alexander Payne and their latest film, “The Holdovers.”

Kevin’s been on Art of the Cut before for his last Alexander Payne collaboration, “Downsizing” and for “The Peanut Butter Falcon.” Kevin has been nominated for numerous ACE Eddies for his work on Election, About Schmidt, Sideways and Nebraska. He also won an ACE Eddie and was nominated for an Oscar for his work on The Descendants. 

Want to feast your EYES as well as your ears? Read this and get great trailers and clips from the movie at borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with Kirk Baxter, ACE, about editing David Fincher’s latest: The Killer, which is now on Netflix.

Kirk’s been on Art of the Cut before - for Gone Girl and for Mank. He was nominated for an Oscar, a BAFTA and an ACE Eddie for The Curious Case of Benjamin Button. He won an Oscar, a BAFTA and an ACE Eddie for The Social Network. He was nominated for an ACE Eddie and won an Oscar for The Girl with the Dragon Tattoo. Was nominated for an Emmy for House of Cards. Was nominated for an ACE Eddie for Gone Girl. Was nominated for an ACE Eddie for Mindhunter. Was nominated for an ACE Eddie for Mank and won an ACE Eddie for Love, Death and Robots.

Today on Art of the Cut, we’re talking with Dean Zimmerman, ACE about the limited Netflix series, All the Light We Cannot See, directed by his long-time collaborator, Shawn Levy.

Dean’s been on Art of the Cut before for “Free Guy” and “Stranger Things” and “Mazerunner.” He’s part of a legendary editing family, headed by his father Don Zimmerman, who just received the Lifetime Achievement Award from the American Cinema Editors this year.

Dean won an Emmy and was nominated for an ACE Eddie in 2017 for Stranger Things. And then in 2020, two more Emmy nominations for Stranger Things. Other work includes The Adam Project, Holmes and Watson, and Night At the Museum: Secret of the Tomb.

Don't forget that you can READ this interview with visuals like clips, trailers and the occasional timeline screenshot at:

borisfx.com/blog/aotc

Today on Art of the Cut, it’s my pleasure to speak with legendary editor Thelma Schoonmaker, ACE, about working with her legendary director, Martin Scorsese, about their latest film, “Killers of the Flower Moon.”

Thelma’s filmography includes editing eight Oscar Best Picture nominated films. 

She was nominated for her first Oscar for Best editing for “Woodstock” in 1971. Her co-editor on that film was Martin Scorsese, actually.  She won an ACE Eddie, a BAFTA and an Oscar for editing "Raging Bull." She won a BAFTA and was nominated for an Oscar and an ACE Eddie for “Goodfellas.” Nominated for an ACE Eddie for “Casino.” Won an ACE Eddie and was nominated for a BAFTA and an Oscar for “Gangs of New York.” Nominated for a BAFTA and won an ACE Eddie and an Oscar for “The Aviator.” Nominated for a BAFTA and won an ACE Eddie and the Oscar for “The Departed.” Nominated for an ACE Eddie, a BAFTA and an Oscar for “Hugo.” Nominated for an ACE Eddie and a BAFTA for “Wolf of Wall Street.”  Nominated for an ACE Eddie a BAFTA and an Oscar for “The Irishman.”  And was awarded a career achievement award by the American Cinema Editors. 

Today on Art of the Cut, it’s my pleasure to speak with Errol Morris’s longtime editor, Steven Hathaway. This discussion is about Morris’s latest documentary, The Pigeon Tunnel, about one of the world’s most famous novelists… and spy, John le Carre. The film recently released in theaters and is currently streaming on Apple Plus.

Hathaway has edited several films for Morris including American Dharma, The Unknown Known, and Standard Operating Procedure. He was also an associate editor on Morris’s Oscar-winning documentary “The Fog of War.”

Be sure to read along and check out the Avid timeline and other visual elements on 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 Birth/Rebirth, which was in theaters earlier this year and is now available on Amazon Prime or Apple TV. Previously, Taylor has 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.

Read along with the podcast for visuals and videos and even a timeline! Visit borisfx.com/blog/aotc/

Today on Art of the Cut, we speak with Darrin Navarro, ACE, who started his career with the legendary Roger Corman and has edited films including The Lovers, The End of the Tour, Killer Joe and I Love Dick.  Darrin has worked with legendary director William Friedkin for years, starting as an assistant editor. Novarro talks about The Caine Mutiny Court Martial - his final collaboration with Friedkin - who passed away recently.

Check out the blog of this podcast here:

https://borisfx.com/blog/aotc/caine-mutiny-court-martial/

Today on Art of the Cut, we speak with four members of the editorial team for Gareth Edwards film, “The Creator.” Joining me to discuss the challenges and rewards of this film are Oscar winning editor, Joe Walker, ACE. Also Oscar-nominated editor, Hank Corwin, ACE. We’ll also be talking to Scott Morris, and an old friend Job ter Burg, ACE - NCE, who served as additional editor.

Walker’s credits - just the ones he’s been on Art of the Cut for in the past - include 12 Years a Slave, Sicario, Arrival, Widows, Bladerunner 2049, and Dune, for which he won the Oscar.

Corwin was nominated for Oscars for Don’t Look Up, Vice, and The Big Short, for which he won the ACE Eddie. He’s also been nominated for an ACE Eddie for “The Horse Whisperer” and was an additional editor on “JFK” which won the Oscar for Best Editing.

Scott Morris edited the feature Armageddon Time, and was an additional editor on Don’t Look Up and Ad Astra.

Job ter Burg, ACE and NCE, his films include Benedetta, Elle, Brimstone, Black Book and The Informer.

Today on Art of the Cut, we speak with director, Rudy Valdez, and his editor Viridiana Lieberman about the new documentary, Carlos about guitar legend, Carlos Santana. 

Rudy is a two-time Emmy Award-winning filmmaker. His HBO documentary The Sentence was a Sundance Audience Award-winner. He’s also worked on numerous other projects as a cinematographer.

Viri, also worked on The Sentence with Rudy as his editor, and she’s a director in her own right, directing the ESPN documentary, Born to Play, which she also edited. Together, she and Rudy are off on their next project already, a documentary series called Choir.

Today on Art of the Cut, we speak with Lucy Donaldson, the editor of Kenneth Branagh’s latest film, “A Haunting in Venice.” 

Lucy’s feature film work includes Unspoken, Breaking News in Yuba County, Ma, Stuck, and Choice. 

Today on Art of the Cut, we speak with the editors of Gran Turismo - Colby Parker, Junior, ACE, Austyn Daines, and co-editor, Eric Freidenberg.

Colby’s been on Art of the Cut before for his work on Mile 22. Colby was nominated for an ACE Eddie for his work on Ant-Man. His other work includes Patriot’s Day, Deepwater Horizon, Lone Survivor and Battleship.

Austyn has edited the feature film “Demonic” and the Travis Scott documentary, “Look Mom, I can Fly.”

Eric has cut features including Kandahar, and documentaries including The World of Thinking. He’s also cut TV including 30 for 30, 9-1-1, Unsolved Mysteries, and Chef’s Table. And he was an editor on the GT Academy TV series.

Today on Art of the Cut, a little change of pace. August was the 30th anniversary of the movie, The Fugitive, directed by Andrew Davis and edited by Don Brochu, David Finfer, Dean Goodhill, Dov Hoenig, Richard Nord and Dennis Virkler. Why so many editors? You’ll soon find out as I talk to director Andrew Davis about the evolution of the film through editing, his thoughts on being one of the first directors to try to cut a film using Avid Media Composer, and what he looks for when choosing a new editor for a project.

Mr. Davis was nominated for a Golden Globe and a DGA Award for Best Direction for The Fugitive. His other films include Under Siege, Chain Reaction, A Perfect Murder, Collateral Damage, Holes, and The Guardian.

Today on Art of the Cut, Jennifer Lame, ACE, discusses editing Oppenheimer with some of the key members of her editing team: Additional Editor, Mike Fay, First Assistant editor (Avid) Nick Ellsberg, and First Assistant Editor (film), Tom Foligno.

Jennifer Lame was an early Art of the Cut guest when she edited Manchester By the Sea, for which she was nominated for a BAFTA and an ACE Eddie. She has since edited Hereditary, Marriage Story - also nominated for an ACE Eddie - Tenet, and Black Panther: Wakanda Forever.

Mike Fay was previously the Visual Effects editor on Bullet Train, John Wick 3, and Passengers, First Assistant Editor on Ghostbusters: Afterlife, and The Mountain Between Us, and editor on the feature film, A Shot through the Wall.

Nick Ellsberg was First assistant editor on Bullet Train, assistant editor on Ghostbusters: Afterlife, second assistant editor on John Wick 3, and editor on the feature film, Watch List.

Tom Faligno was nominated for an ACE Eddie for an episode of Curb Your Enthusiasm. He’s also edited the TV series Ballers, Altered Carbon and Dispatches from Elsewhere. He’s also cut features including All for Nikki and Sweet Lorraine. Later in the episode, you’ll hear his background included working on Martin Scorsese’s Casino, Kundun, and The Aviator as an assistant editor under Thelma Schoonmaker, ACE.

Today on Art of the Cut, Ken Eluto, ACE, Jane Rizzo, ACE and William Henry, ACE discuss cutting Succession, which has earned all three of them Emmy nominations for separate episodes this year.

Ken landed his first Emmy nomination in 1996 for American Experience. He was also nominated for an Emmy and an ACE Eddie for 30 Rock, then WON an Emmy and ACE Eddie the following year for 30 Rock again. More Emmy nominations and another ACE Eddie nomination came his way for 30 Rock in subsequent years, then additional Emmy nominations for Succession in 2020 and last year. Ken has also worked on Modern Love, Genius, Unbreakable Kimmy Schmidt and others.

Jane Rizzo was nominated last year for an Emmy and an ACE Eddie for an episode of Succession. The also cut the recently released The Beanie Bubble movie, and the features Z for Zachariah, Maggie, The Hunt and Leave No Trace, as well as TV series including Dash and Lily and Dickinson.

William Henry was nominated for an Emmy in 2020 for Succession. He’s cut features, including Soul Men and TV series including The Gilded Age, Dickinson, and Monsterland.

Today on Art of the Cut, editor Stephanie Filo, ACE.

Stephanie just hit the Emmy trifecta: she was nominated for three Emmys for three different series! She was nominated for Outstanding Editing in a Variety Program for A Black Lady Sketch Show along with editors Malinda Zehner Guerra, and Taylor Mason. Also in the Variety Programming category, she's nominated for History Of The World Part II with her co-editors, Angel Bryant, Daniel Flesher, and George Mandl. And finally, for Outstanding editing in a Limited Series, she's nominated for Dahmer - Monster: The Jeffrey Dahmer Story.

Stephanie Filo is originally from Sierra Leone, West Africa. She has two Emmy wins, and an ACE Eddie win for A Black Lady Sketch Show. And was a Peabody Award winner for her work on the documentary Surviving R. Kelly and an Emmy winner for her work on the documentary Separated. She was also nominated for an Emmy for her work on the documentary Aging Out. She also recently edited the feature film We Grown Now, which is soon to be released.

Finally, Filo once starred as the only co-host of Art of the Cut ever - for the episode on the thriller, Barbarian. Barring all of the editing wins and nominations, probably her proudest moment, I’m sure.

Today we’re talking with the editors of the TV series, The White Lotus which has been nominated for Emmy Awards in the Outstanding Picture Editing in a Drama Series category. Heather Persons, ACE has been nominated for her episode, “Abductions” and John Valerio, ACE has been nominated for his episode “Arrivederci.”

Heather has been nominated three times before for Emmys, three times for ACE Eddies, and for a BAFTA. She’s edited features, like “Sunshine Cleaning” and was an additional editor on “My Big Fat Greek Wedding.” Her TV credits include, The Flight Attendant, How to Make it in America, and The Ron Clark Story.

John won an Emmy for his “Departures episode from Season 1 of The White Lotus, and won an ACE Eddie for his “Arrivederci” episode from Season 2. He’s also been nominated for another ACE Eddie and a BAFTA.

His work includes TV series like Tom Clancy’s Jack Ryan, The Old Man, Tokyo Vice and Parks and Recreation.

Today we’re talking with Nena Erb, ACE about the film Joy Ride.

Nena has won two Primetime Emmys for her work on Project Greenlight and Insecure. She also has three ACE Eddie nominations - two for Insecure, and one for Crazy Ex-Girlfriend.

Her other work includes editing Justin Bieber’s Believe, the TV series Little America, and the feature film Little Owl, which also just released.

Today we’re talking with some of the editing team from the biggest pinkest movie to hit screens in a while - Barbie. With us for this conversation are editor Nick Houy, ACE… his first assistant editor, Nick Ramirez,  apprentice editor, Maya Rivera, and post PA, Abdul Ndadi.

Nick Huoy has been on Art of the Cut before for director Greta Gerwig’s Little Women. 

Nick started out as an apprentice to Naomi Geraghty. And in 2012 moved to the editor’s chair where he was an additional editor on Girl Most Likely, and edited Fairhaven, and Manhattan Romance before joining forces with Greta Gerwig for her breakout film, Lady Bird.  

In an interesting bit of trivia, another apprentice editor under Naomi Geraghty was none other than Jennifer Lame who edited the other major film opening in theaters the same weekend as Barbie - Oppenheimer.

First Assistant Nick Ramirez was an editor on the documentary Stutz - co-edited with Nick Huey… He also edited the feature film Mayday and was the first assistant on Little Women and Lady Bird.

As an apprentice editor, this was really Maya Rivera’s first film in post, but since then, she also was an apprentice on The Beanie Bubble, which is out now as well!

Abdul Ndadi is the Post PA on Barbie after moving over from animation. He did animation for a documentary called Stickman: The Roosevelt Wilkerson Story.

Today we’re talking with Eddie Hamilton, ACE about Mission: Impossible - Dead Reckoning. 

Eddie was last on Art of the Cut to discuss Top Gun Maverick - which was the most listened to episode of the last year. He’s also talked with Art of the Cut about Mission Impossible: Fallout,  Kingsman: The Golden Circle, Mission Impossible Rogue Nation, and Kingsman: Secret Service. I think that’s enough enormous blockbusters, but I’ll also throw in Kickass, Kickass 2, and X-Men First Class and even Resident Evil: Apocalypse almost two decades ago.

Today we’re talking with Kelly Matsumoto, ACE and Dylan Highsmith about editing Fast X.

Dylan has worked his way up, mainly as a VFX Editor, including on Fast Five.  And has been an editor on Fast and Furious 6, Furious 7, The Fate of the Furious, and Fast 9. He’s also edited Pacific Rim: Uprising, and Star Trek Beyond.

Kelly’s experience with the Fast series goes back to before 2006 with The Fast and the Furious: Tokyo Drift. Also, Fast Five, Fast and Furious 6, and Fast 9. Kelly’s other credits include The Meg, Star Trek Beyond, The Mummy, The Mummy Returns, The Mummy: Tomb of the Dragon Emperor, and Van Helsing among others.

Thanks to our new sponsor Lens Distortions. Be sure to check them out at lensdistortions.com/AOTC.

If you want to watch the scenes from this episode:

Cannon car

https://youtu.be/mAbShxN5f6Q

Letti - motorcycle

https://youtu.be/BTcqoR96Pls

Today we’re talking with Oscar nominee and multiple BAFTA nominee Barney Pilling, ACE about editing Wes Anderson’s Asteroid City.

Barney has been nominated for BAFTAs for his editing of Spooks, Life on Mars, and The Grand Budapest Hotel. He was also nominated for a BAFTA and won an ACE Eddie for The Grand Budapest Hotel. 

His other work includes Mrs. Harris Goes to Paris, Annihilation, and Suffragette. Also, numerous TV series including Outcasts, Playhouse Presents, and Mum. 

Today we’re talking with Michael Andrews, ACE, editor of the incredible animated feature, Spider-Man: Across the Spider-Verse. Anyone who has seen this has to just be in awe of how something like this got made - and Mike’s gonna shed some light on that for us.

Mike’s credits include editing Paws of Fury: The Legend of Hank, The SpongeBob Movie: Sponge on the Run, Mr. Peabody and Sherman, Megamind, Shrek, Shrek 2, and Shrek the Third. When you figure that each of those was probably a multi-year commitment, that is a lot of animation editing experience.

There are some truly amazing behind the scenes facts in this interview.

Today we’re talking with three of the editors of the Disney Plus series, Andor - John Gilroy, ACE. Yan Miles, ACE and Simon Smith.

John Gilroy, ACE is an editor and also a producer on the series. He was nominated for a BAFTA and an ACE Eddie for the feature film Michael Clayton. And he was nominated for an ACE Eddie and a BAFTA for Nightcrawler. His feature work includes Rogue One: A Star Wars Story, Suicide Squad, Pacific Rim, The Bourne Legacy, and Salt, among many others. 

Yan Miles, ACE has edited some of the great TV series of recent years including Game of Thrones and Band of Brothers.  He won an Emmy and was nominated for an ACE Eddie for The Crown and he won an Emmy, a BAFTA and an ACE Eddie for Sherlock. 

Simon Smith has been on Art of the Cut before when he won the Emmy, the BAFTA and the ACE Eddie for Chernobyl. He also recently won the ACE Eddie for cutting the “One Way Out” episode of Andor. 

Today we’re talking with two of the editors of the TV series, The Last of Us - Timothy Good, ACE and Emily Mendez.

Tim edited the feature Dead Man Down and numerous TV series including The Umbrella Academy, The Resident and others.

Emily Mendez was an assistant editor on all 9 episodes of The Last of Us and editor for four of them. She was an assistant editor on TV series like The Umbrella Academy and The Resident, and an editor on the series Light as a Feather. 

Today is the 400th episode of Art of the Cut. We’re talking with two of the editors of the TV series, Wednesday. They are Jay Prychidny, CCE and Ana Yavari.

Jay joined us just a few months ago to chat about editing Scream 6. Jay has won or been nominated for numerous Canadian Cinema Editors Awards for projects including The Alienist, Orphan Black, Canada’s Next Top Model, The Next Step, and Lost and Found Music Studios. He also won a BAFTA for The Next Step. His other credits include the TV series Snowpiercer, Altered Carbon, and Wednesday.

Ana edited the TV series From, which is currently airing. She was also an editor on The Handmaid’s Tale, and The Hardy Boys.

Today we’re talking with the editors of the TV series, Poker Face. Those editors are Bob Ducsay, ACE, Glenn Garland, ACE, Paul Swain, and Shaheed Qaasim.

Bob’s been on the show several times, most recently for the two Knives Out mysteries. He also edited Star Wars: The Last Jedi, Looper, Godzilla King of the Monsters, and Rampage among many others.

Glenn is a fellow editing podcaster himself. He hosts the Editors on Editing podcast, so the pressure is on. His work includes King of California and Halloween.

Paul’s work includes The Unicorn, Brockmire, and Guilty Party.

Shaheed’s work includes A Black Lady Sketch Show, which has been featured on Art of the Cut, The Walking Dead: World Beyond, Modern Family, and Deadwood.

Today we’re talking with the editor of the TV series, Star Trek: Picard. Discussing season 3, is editor Drew Nichols, who is also an associate producer on the show. Drew started off in reality and documentary programming about 15 years ago and transitioned into scripted as an assistant editor on great shows like Mad Men and True Detective. He moved into the scripted  television editors chair on 12 Monkeys, The In Between, American Cartel, and MacGyver. 

Today we’re talking with Harry Yoon, ACE, Laura Zempel, Jordan Kim, and Nat Fuller about the TV series Beef. This is the first in a series of six Art of the Cut episodes leading up to Emmy voting. Upcoming shows will feature editors from Andor, Picard, Poker Face, The Last of Us, and Wednesday.

Harry Yoon has been on Art of the Cut many times before, most recently for the film, Minari, but also for the films Detroit, Shang-Chi and the Legend of the Ten Rings, and Best of Enemies. Harry was also an editor on the TV series Euphoria.

Laura Zempel was also a previous guest on our Euphoria episode. She’s also been an editor on the TV series Dispatches from Elsewhere.

Jordan Kim’s credits - among others - include Portlandia, Yo Gabba Gabba, Awkwafina is Nora from Queens, and the great satirical show Documentary Now which was featured on Art of the Cut several years ago

Finally, Nat Fuller edited the Film The Peanut Butter Falcon, with Kevin Tent, ACE. He was also an editor on numerous episodes of Stranger Things among other projects. 

Today on Art of the Cut, editors Fred Raskin, ACE and Greg D'Auria discuss the editing of James Gunn's Guardians of the Galaxy: Volume 3.

Fred’s been a guest on Art of the Cut for Quentin Tarantino's Hateful Eight. He was also a guest for Once Upon a Time in ... Hollywood. He was on for the previous Guardians movie and for The Suicide Squad. He also edited the first Guardians movie, Django Unchained, Fast and Furious, Fast And Furious: Tokyo Drift, and Fast Five.

Greg is also an alum of the Fast movies, having cut Fast and Furious 6, and Fast 9. His other work includes Star Trek: Beyond, among others. Raskin and D'Auria go back as assistant editors, both working on Kill Bill: Volume 1 under the legendary Sally Menke. They were also both editors on Bone Tomahawk.