Art of the Cut

Today we’re talking with all three editors of the amazing HBO series, Euphoria. Julio C. Perez, ACE, is a co-producer and supervising editor on Euphoria, and has been nominated for ACE Eddies for the last three years, including one for the pilot of Euphoria—and was nominated for an Independent Spirit Award for editing the feature film It Follows. He also edited Under the Silver Lake, which premiered at the 2018 Cannes Film Festival, and Malcolm and Marie with director Sam Levinson. Aaron I. Butler, ACE, is an Emmy-winning and two-time ACE Eddie-nominated editor. He’s edited Kanye’s Jesus Is King and the feature JT Leroy. He also cut the Emmy-nominated documentaries Cry for Syria and American Winter. Laura Zempel has edited HBO’s Room 104 as well as AMC’s Dispatches from Elsewhere. She recently cut Josephine Decker’s latest feature The Sky is Everywhere for Apple and A24. The editing on Euphoria is unique and there’s a lot to discuss. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Louise Ford about editing the Robert Eggers film, The Northman. Louise was nominated for an Independent Spirit Award for Best Editing for her last Robert Eggers film, The Lighthouse. Her filmography also includes features including Bad Education, Wild Life, Don’t Breathe, and another Robert Eggers film, The Witch. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this special Japanese language episode of Art of the Cut, we’re speaking with Azusa Yamazaki, the editor of Drive My Car, which won an Oscar for Best International Feature Film and a BAFTA for Best Film Not in the English Language. Azusa has edited numerous feature films, including Asako I & II, Dream of Illumination, and The Ark in the Mirage. Special thanks to Naoki Tanaka for interpreting this interview. Naoki is a friend of Azusa, and they have known each other since film school. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Azusa Yamazaki, the editor of Drive My Car, which won an Oscar for Best International Feature Film and a BAFTA for Best Film Not in the English Language. Azusa has edited numerous feature films, including Asako I & II, Dream of Illumination, and The Ark in the Mirage. She has also cut several TV series in her native Japan. Our discussion was through an interpreter—Naoki Tanaka—who is a friend of Azusa’s from film school. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this interview, we discuss the film Everything Everywhere All at Once with the film’s editor, Paul Rogers. Paul has also edited the feature film The Death of Dick Long—which I saw in a packed house at Sundance a few years ago— and another called You Cannot Kill David Arquette. He’s also edited the TV series Dream Corp LLC and The Eric Andrew Show. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this interview, we discuss two recent films edited by Irish film editor, Úna ní Dhongaíle, ACE, BFE. Belfast is a Best Picture Oscar nominee, and Úna was nominated for an ACE Eddie and a BAFTA for Best Editing for the film. She also edited the beautiful and evocative Agatha Christie mystery, Death on the Nile. Úna’s other credits include editing the film Stan and Ollie, and the TV shows Wallander, The Crown and Les Misérables. Our discussion of the craft will touch on how to create a sense of pace within a single shot, the value for a director to see cuts as he’s shooting, and the value of using your own life experiences to empathize with the story on screen. Let’s dive in! Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Like most successful documentary makers, Chinese-American producer/director Jessica Kingdon makes bold choices with her projects. These have included sex doll manufacture in It’s Coming!, transgender surgery in Born to Be, and a study of China’s largest wholesale market in Commodity City. Across her relatively short career, this work has collected a number of awards. She was named as one of the 25 New Faces of Independent Film by Filmmaker Magazine and made it into the 40 Under 40 list at the 2020 NYC film festival. Her latest documentary, Ascension, earned her a nomination for Best Documentary Feature at this year’s Oscars. Ascension examines the pursuit of “the Chinese Dream” and the realities involved in fulfilling the global supply chain. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Art of the Cut rarely gets a chance to speak with the directors about the intent of their work as it applies to their editors. In this enlightening discussion, we get to hear from director/editor Kogonada about his work on the film After Yang. Kogonada was nominated for the Sundance Film Festival Audience Award and received Independent Spirit nominations for Best First Feature and Best First Script for his film Columbus (2017). He is a South Korean-born American filmmaker who started by creating innovative video essays about cinema. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with William Hoy, ACE, and Tyler Nelson about editing Matt Reeve’s The Batman. I’ve spoken with both of these editors in the past. William most recently for his work on The Call of the Wild and War for the Planet of the Apes before that. Tyler has long worked with David Fincher, and I’ve spoken to him about editing Mindhunter. William’s other credits include Dawn of the Planet of the Apes, 300, Watchmen, Fantastic Four and I, Robot. He’s also edited the TV series Star Trek: The Next Generation. Tyler has also edited the film Rememory and TV series including Shadow and Bone, Tales from the Loop, and Love Death + Robots. He’s also been a visual effects editor or Assistant editor on films like, The Revenant, Birdman, Gone Girl and The Social Network. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today's Art of the Cut, we're speaking with Ryan Stevens Harris, who edited the film Moonfall alongside co-editor Adam Wolfe. As you'd expect from a Roland Emmerich feature, Moonfall is a big, action-adventure film filled with VFX and interesting editorial challenges to unpack. Ryan discusses his rise up through the post team to the edit chair, the way all cinematic arts inform each other, the role of sound in world-building, and how he directed a feature film with something his relatives dug up from a basement in Omaha, Nebraska. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this Art of the Cut special, we talk to Nels Bangerter, the editor of the revealing archival documentary "Riotsville, USA." I last spoke to Nels on Art of the Cut for the release of another documentary "Dick Johnson is Dead." He's also edited documentaries including "Cameraperson," "Let the Fire Burn," "You See Me" and "32 Sounds."  His work has been included on PBS Shows "POV" and on "Dan Rather Reports."  Visit Frame.io Insider to read more about this movie, along with exclusive insider media and photos.

In this Art of the Cut special, we talk to Harrison Atkins, the editor of "Emily the Criminal." The film stars Aubrey Plaza as a woman who slides uneasily into the world of credit card fraud and identity theft, and was written and directed by John Patton Ford. Harrison describes himself as a "holistic filmmaker" wearing numerous hats on many different productions including directing and cinematography, but his editing credits include several indie features including "Lace Crater," "Madeline's Madeline," and "Karmalink." Visit Frame.io Insider to read more about this movie, along with exclusive insider media and photos.

In this Art of the Cut special, we talk to the editor of "Alice," Byron Smith, ACE. Byron started his award-winning career early, by winning the Student ACE Eddie more than 20 years ago. He's also been nominated for an Emmy and an ACE Eddie for his work on "House of Cards." His work on television includes editing for episodes of "Nip/Tuck," "Big Love," "True Detective," "Castle," "Mindhunter," "Altered Carbon," and even working as a supervising producer on "Star Trek: Discovery." He also edited the feature film "Running with Scissors." Visit Frame.io Insider to read more about this movie, along with exclusive insider media and photos.

Today I’m speaking with editor Andy Jurgensen, editor of Paul Thomas Anderson’s Licorice Pizza. Andy’s work on the film has garnered him BAFTA and ACE Eddie nominations for Best Editing. Andy has been part of Anderson’s post team on Inherent Vice, on which he served as Assistant Editor and on Phantom Thread, on which he worked as Associate Editor. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this Art of the Cut interview, we discuss Guillermo del Toro’s film, Nightmare Alley with editor Cam McLauchlin. Cam is a Toronto-based editor who has worked on numerous previous del Toro films in various capacities, including working as associate editor, title designer, and music editor on Shape of Water. His other work as editor includes features films: Teen Spirit and The Void, and TV including The Girlfriend Experience and The Strain. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today, we're speaking with the editors of the fantastic documentary, Roadrunner: A Film About Anthony Bourdain, which examines the life and death of the world-famous chef and author. The film was directed by Morgan Neville, who also directed the Fred Rogers documentary, Won't You Be My Neighbor? The editors of Roadrunner are Eileen Meyer and Aaron Wickenden, and I've had them both on Art of the Cut in the past—Eileen for Crip Camp, and Aaron for a doc called Hail Satan. Eileen's other editing work includes Best of Enemies: Buckley vs. Vidal, Alabama Bound, and Television Event. And she was an additional editor on Clive Davis: The Soundtrack of Our Lives. Her TV work includes an episode of The First 48 and the documentary mini-series The Devil Next Door. Aaron's worked with Eileen before on both Best of Enemies and Television Event. His filmography also includes The Trials of Muhammad Ali, the Orson Welles documentary They'll Love Me When I'm Dead, the aforementioned Fred Rogers documentary Won't You Be My Neighbor? and the Michelle Obama documentary Becoming. Also episodes of Frontline and POV. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we're speaking with Oscar nominee Pamela Martin ACE, the editor of the film King Richard, starring Will Smith as the father of tennis greats Venus and Serena Williams. Ms. Martin was nominated for an ACE Eddie for Little Miss Sunshine and was nominated for another ACE Eddie and an Oscar for The Fighter. Her other films include Downhill, Battle of the Sexes, and Free State of Jones. She's also cut TV, including the pilot for Weeds. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Peter Sciberras, the editor of Jane Campion’s highly acclaimed film The Power of the Dog. Peter has received great critical recognition for his early Australian films Hail, The Rover, and The King. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with multi-Oscar nominee Hank Corwin, ACE about editing Adam McKay’s film, Don’t Look Up. Hank’s been winning editing awards for 25 years. He was nominated for an ACE Eddie for editing The Horse Whisperer. He won or was nominated for many awards for his editing on The Tree of Life. He was nominated for an Oscar and a BAFTA and won an ACE Eddie for his brilliant work on The Big Short. And was nominated for an Oscar and an ACE Eddie and won a BAFTA for his editing of the movie Vice. I last interviewed him ahead of that win in 2019. His other work includes The Legend of Bagger Vance, Nixon, and Natural Born Killers, in addition to working as an additional editor on films like JFK, Public Enemies, Moneyball, and Ad Astra. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today’s episode of Art of the Cut, we’re speaking with film editor Rob Hall about his work with colleague Jason Ballantine, ACE on The King’s Man. Rob’s filmography includes feature films Final Score, Bobby, Son of God, Penguins, and The Tournament, among others. Also TV including Works on Fire, The ABC Murders, and Waco: Madman or Messiah. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today’s episode of Art of the Cut, we’re speaking with Joseph Jett Sally, editor of the much-anticipated continuation of the Matrix saga—The Matrix Resurrections—directed by Lana Wachowski. Sally has edited films like Ninja Assassin and Breaking In. He was also editor on the TV series Work in Progress, Messiah, Sense8, and Gideon’s Crossing. As a VFX editor, he worked on The Amazing Spider-Man 2, Ghost Rider: Spirit of Vengeance, and The A-Team, and he was an assistant editor on Star Wars Revenge of the Sith, Attack of the Clones, and Phantom Menace. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Jabez Olssen about editing the Peter Jackson documentary, The Beatles: Get Back which is airing now on Disney+. I last spoke with Jabez when he edited Star Wars: Rogue One. Jabez’s early career included being a first assistant editor on The Lord of the Rings: The Fellowship of the Ring. He was also an additional editor working with the legendary editor, Michael Kahn, and director Steven Spielberg, on The Adventures of Tintin. His work as an editor includes The Lovely Bones, all three Hobbit movies and Jackson’s last documentary, They Shall Not Grow Old. He was nominated for a BAFTA for his work as Additional Editor on The Lord of the Rings: The Two Towers. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today is a very special episode of Art of the Cut, as we celebrate the 20th anniversary The Lord of the Rings: Fellowship of the Ring. To look back on this cinematic milestone, we're sitting down with John Gilbert, ACE, the editor who collaborated with Peter Jackson on The Fellowship of the Ring. Gilbert's work on this film earned him nominations for a BAFTA, an ACE Eddie, and an Oscar. Since editing The Lord of the Rings, Gilbert has cut films including Bridge to Terabithia, The Bank Job, The Killer Elite and Chasing Mavericks. John has been a previous guest on Art of the Cut for his work on the movies Adrift and Hacksaw Ridge—for which he won a BAFTA and an Oscar, and for which he was nominated for an ACE Eddie. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Andrew Weisblum, ACE and Myron Kerstein, ACE about editing Lin Manuel Miranda’s debut directorial project, tick, tick…BOOM! I’ve spoken with Andrew and Myron several times before. Andrew for Alice Through the Looking Glass and, most recently, for The French Dispatch. Then Myron for Crazy Rich Asians (for which he was nominated for an ACE Eddie) and In the Heights. Myron’s other work includes the films Going in Style, Wish I was Here, Glee: The 3D Concert Movie, Fame, and Garden State among others. Andrew’s filmography includes The Darjeeling Limited, The Wrestler, the ACE Eddie-nominated Fantastic Mister Fox, the BAFTA, ACE Eddie- and Oscar-nominated Black Swan, the ACE Eddie-nominated Isle of Dogs and Moonrise Kingdom. He also was nominated for an ACE Eddie for editing an episode of the TV series SMASH. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Dana E. Glauberman, ACE, and Nathan Orloff about their work on Ghostbusters: Afterlife. I last spoke to Dana along with the rest of the editing team for The Mandalorian, and before that for Creed II. Dana was nominated for ACE Eddies for Thank you for Not Smoking, Juno, Up in the Air, Young Adult, and The Mandalorian. Other titles in her filmography include Draft Day, Labor Day, and No Strings Attached. Nathan Orloff’s filmography includes Plan B, and work as an additional or associate editor on The Front Runner, Tully, and 10 Cloverfield Lane. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Úna Ní Dhonghaíle, ACE, BFE, about her work on the critically acclaimed Belfast, a semi-autobiographical movie written and directed by Kenneth Branagh. Úna is a BAFTA-winning editor with film credits that include Stan and Ollie, All is True, and Misbehaviour alongside TV shows Three Girls, The Crown, and Les Misérables. Our last chat on Art of the Cut was about editing The Crown, and we’ll hopefully do this again when Branagh’s Death on the Nile is released next year. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Dylan Tichenor, ACE, and Craig Wood, ACE, about their work on the latest Marvel extravaganza, Eternals. I last spoke with Dylan when he cut Paul Thomas Anderson’s Phantom Thread. Dylan’s work also includes Boogie Nights, Magnolia, the ACE Eddie-nominated The Royal Tenenbaums, the BAFTA/ACE Eddie-nominated Brokeback Mountain, the ACE Eddie/Oscar-nominated There Will be Blood, and the ACE Eddie/BAFTA/Oscar-nominated Zero Dark Thirty. (And I have no idea where there weren’t nominations for his work on one of my favorite movies, The Assassination of Jesse James by the Coward Robert Ford.) Craig has also been on Art of the Cut before for Ant-Man and The Wasp and Guardians of the Galaxy. He’s won an ACE Eddie for Pirates of the Caribbean: The Curse of The Black Pearl, and has received nominations for the sequels, Dead Man’s Chest and At World’s End alongside Rango and Guardians of the Galaxy. Craig has been working as an editor on film, TV, and music projects since the late 1980s, including projects for Peter Gabriel, Tom Petty, and Janet Jackson. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we're talking with Australian film and TV editor Paul Machliss, ACE, whose work you'll have seen in movies like Guy Ritchie's The Gentlemen and Edgar Wright's Baby Driver, The World's End, and Scott Pilgrim vs The World (for which he received an ACE Eddie nomination). In fact, Paul's association with Edgar Wright stretches as far back as 2001's cult UK comedy series, Spaced, which is just one of several offbeat British comedies you'll find in his credits, including Black Books, The IT Crowd, Peep Show, and Fleabag. Paul and I last chatted on Art of the Cut about Baby Driver, for which he picked up a BAFTA for Best Editing— along with Oscar and ACE Eddie nominations—but today we're looking at Last Night in Soho, a sinister thriller based on Krysty Wilson-Cairns' screenplay, directed/co-written by Edgar Wright, and starring Anya Taylor-Joy, Matt Smith, and Thomasin McKenzie. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today, we’re speaking with Andrew Weisblum, ACE, about the Wes Anderson film, The French Dispatch. I last spoke with Andrew when he edited Alice Through the Looking Glass. Andrew’s filmography is incredibly diverse; The Darjeeling Ltd., The Wrestler, the ACE Eddie-nominated Fantastic Mr. Fox, the BAFTA-, ACE Eddie-, and Oscar-nominated Black Swan, the ACE Eddie-nominated pilot for Smash, the ACE Eddie-nominated Moonrise Kingdom, and he was the supervising editor on the Ace Eddie-nominated Isle of Dogs. He also edited the upcoming Lin-Manuel Miranda film, Tick, Tick... Boom!, with another frequent Art of the Cut guest, Myron Kerstein, ACE. You can bet that we’ll be talking with both of them about that film in a few weeks. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today's episode, we're talking with Joe Walker, ACE about the highly anticipated film, Dune, based on the 1965 Frank Herbert novel. The book is epic in scope and filled with mythology, and plays out across eons on multiple planets—as you'll hear from Joe, creating a compact, cohesive, and compelling cinematic experience from this source material was not easy. Joe and I go back a long time. He and Mark Sanger were the first two interviews I did for Art of the Cut. I was intrigued to interview Joe because of Lupita Nyong’o’s Oscar acceptance speech for 12 Years a Slave where she thanked him for his stewardship of her performance—I needed to meet the editor that gets a shout of from an Oscar-winning actress. Joe was also nominated that year for his work on 12 Years a Slave. Other interviews with Joe included Sicario, for which he was nominated for an ACE Eddie, Arrival, for which he won an ACE Eddie, Widows, and Bladerunner 2049, for which he was again nominated for an ACE Eddie. Prior to starting his feature film editing career, he worked on many projects for the BBC in his native England. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to watch the video version of this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we're speaking with Tom Eagles, ACE, about the Jeymes Samuel film "The Harder They Fall," which is available on Netflix. I last spoke to Tom about winning the 2020 ACE Eddie award for best-edited feature film for his work on "Jojo Rabbit," which was also nominated for a BAFTA and an Oscar. Tom has also edited films like "Hunt for the Wilderpeople" and TV series "What We Do in the Shadows," "Ash vs. The Evil Dead," and "Spartacus: Blood and Sand" Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Tom Cross, ACE and Elliot Graham, ACE about the latest James Bond film—the final film of the Daniel Craig era—No Time to Die. Elliot was nominated for an ACE Eddie for Molly's Game. He was also nominated for an Oscar and an ACE Eddie for his editing on Milk. In addition to those films, he cut Captain Marvel, Steve Jobs, The Amazing Spider-Man 2, Superman Returns, and X2: X-Men United. He also cut the pilot for the TV Series House. We've previously spoken with Tom about Joy, Hostiles, La La Land and First Man. Tom was, of course, nominated for a BAFTA and ACE Eddie and won the Oscar for Best Achievement in Film Editing for Whiplash. Was nominated for an ACE Eddie for Joy. And was nominated for a BAFTA and an Oscar and won an ACE Eddie for La La Land. He was also nominated for a BAFTA and an ACE Eddie for First Man. Later in the piece, we’ll also be talking with Elise Anderson and Martin Corbett, who were the assistant editors for Elliot and Tom. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Chris Tellefsen, ACE about editing The Many Saints of Newark: A Soprano’s Story. Chris and I have spoken before about his editing on A Quiet Place and Assassin’s Creed, and he’s been nominated for several ACE Eddies for titles including Analyze This, Man on the Moon, Joy, and Moneyball (which also picked up an Oscar nomination). He also won an HPA Award for A Quiet Place. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we're speaking with Geoff O'Brien and Pierre Takal who were nominated for a primetime Emmy for outstanding picture editing for a non-fiction program for the New York Times Presents documentary Framing Britney Spears. Geoff’s career has spanned more than 20 years; last year, he won an Emmy for news and documentary for his work on the series, the weekly. He also cut three other documentaries in the New York Times Present series as well as shows for Frontline, VH1, and Showtime. Pierre won not one, not two, but three Emmys for news and documentary programs last year and, showing some range, was nominated for a Golden Reel Award for Motion Picture Sound Editors and has been nominated for Emmys going back 20 years. He's also cut three other documentaries in the New York Times Presents series. He edited Supersize Me 2, the sequel to the blockbuster documentary, and he’s cut for Frontline, so we're talking with two guys with some serious doc chops. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today's episode of Art of the Cut, we're speaking with Joshua L. Pearson about cutting the documentary Summer of Soul about the so-called Harlem Woodstock. Joshua has been nominated for three Emmys for his sound work on the documentary Under African Skies and for his sound work and picture editing on the nonfiction program What Happened, Miss Simone? He was also nominated for an ACE Eddie for Best Edited documentary for Keith Richards: Under the Influence. He also edited the Ron Howard documentary Made in America and has also cut scripted narrative like Tears of a King and Shrek the Musical. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today's episode of Art of the Cut, we sit down with the editors of Marvel's first Asian-led action feature, Shang-Chi and the Legend of the Ten Rings, Nat Sanders, ACE, Elízabet Ronaldsdóttir, ACE, and Harry Yoon, ACE. Nat Sanders has worked with director Dustin Daniel Cretton multiple times, as well as with Barry Jenkins on the Oscar-winning Moonlight and If Beale Street Could Talk. Elízabet Ronaldsdóttir started her career in her native Iceland more than twenty years ago, and we've talked before on Art of the Cut about Mile 22 and Atomic Blonde. She's also edited The Deep, John Wick, and Deadpool 2, among others. Harry Yoon has previously been on the show for his most recent project, Minari, and for Best of Enemies and has also been involved in other projects featured on Art of the Cut, including Last Black Man in San Franciso, First Man, Detroit, and The Revenant. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we meet up with the editors behind Hulu's comedic murder-mystery series, Only Murders in the Building. JoAnne has edited TV series including Queen Sugar, Claws, American Crime, and three seasons of Vida, for which she was nominated for a Hollywood Post Alliance Award. Matthew has edited TV series including Dave, High Fidelity, Veep, and The Good Place, and he received an Emmy nomination for editing Trauma: Life in the E.R. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, Steve chats with Angela Catanzaro, ACE, about her latest action feature, The Protégé. Catanzaro's filmography includes Smokin' Aces 2: Assassins' Ball, Code Black, Parenthood, and The Man in the High Castle, and her work on Friday Night Lights earned her an ACE Eddie nomination. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we sit down with Dean Zimmerman, ACE, who most recently cut the Ryan Reynolds' comedy Free Guy. Dean’s been a guest on Art of the Cut before for his editing of Stranger Things, for which he won an Emmy and was nominated for an ACE Eddie. So we're excited to learn more from this acclaimed editor's cinematic work. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we met up with the editors behind Disney's smash hit, The Mandalorian. Specifically, they each worked on one of the four Emmy-nominated episodes. Dylan Firshein and Erik Jessen edited Chapter 11 – The Heiress, Andrew S. Eisen, ACE, edited Chapter 13 – The Jedi, Jeff Seibenick edited Chapter 15 – The Believer, and Adam Gerstel edited Chapter 16 – The Rescue. This incredibly talented group has worked on such projects as Solo: A Star Wars Story, The Imitation Game, X-Men: Days of Future Past, Parks and Rec, Star Trek: Into Darkness, and many many more. Join us and hear how they took this incredible series to new heights. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, Steve sits down with Director Edson Oda to hear about his Sundance award-winning directorial debut, Nine Days. We also hear from Editors, Michael Taylor, ACE, and Jeff Betancourt, Additional Editor Zack Boger, and Associate Editor Phillip Kimsey. This diverse team has worked on a wide variety of films and TV series, including The Farewell, Crouching Tiger, Hidden Dragon: Sword of Destiny, The Vanilla Ice Project, The Queen’s Gambit, and True Detective. We're excited to learn more about this thought-provoking film, and the many big questions it explores. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, Steve talks with the dynamic editing duo behind James Gunn's superhero blockbuster, Suicide Squad. Fred Raskin is about due for his Art of the Cut Frequent Flier Card. I’ve interviewed him about his work on The Hateful Eight, Guardians of the Galaxy, Vol. 2 and Once Upon a Time in Hollywood. Chris Wagner has edited an equally impressive list of major features, including Mission Impossible II, Die Another Day, and numerous films in the Fast and Furious franchise. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we sit down with Avril Beukes, ACE. Over the course of her career, Avril has been nominated for and won numerous editing awards in her native South Africa. Her work includes the TV series Queen Sugar and Women of the Movement, and feature films like Red Dust, and Yesterday, the latter of which received the Oscar nomination for Best Foreign Language Film in 2005. And now her latest project is the Aretha Franklin biopic, RESPECT. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we meet up with the editing trio behind the Emmy-nominated "A Black Lady Sketch Show." Editors Daysha Broadway, Stephanie Filo, and Jessica Hernández have worked on a variety of TV series and shorts, but were mostly recently tasked with cutting the #ABLSS episode Sister, May I Call You Oshun?, which received the Emmy nomination for Outstanding Picture Editing for Variety Programming. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, Steve talks with Nicolas De Toth, the editor behind Netflix's hot summer action flick, Gunpowder Milkshake. Nicolas has built a career cutting action, like Hitman: Agent 47, X-Men Origins: Wolverine, and Terminator 3: Rise of the Machines. And now he's ready to share the secret ingredients behind this neon-lit action flick. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, meet film editor Joel Negron, ACE, and sound designers Ethan Van der Ryn and Erik Aadahl. This trio of industry veterans worked on Disney's latest action-adventure flick, Jungle Cruise. We sat down with them to learn about the intricate soundscapes and editing techniques that bring this story to life. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, Steve sits down with Director Cate Shortland, and Editors Leigh Folsom Boyd, ACE, and Matthew Schmidt. Cate's most recent work before Black Widow includes films like Sommersault, Lore, and Berlin Syndrome, as well as a variety of TV series and mini-series. Leigh and Matthew have cut an impressive string of Marvel blockbusters, including Spider-Man Far From Home, Ant-man, Avengers: Endgame, Captain America: Civil War, and many others. So it's not surprise this talented team was selected to spin the web for one of the MCU's most anticipated backstories. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we meet up with the editors behind Hulu's cringe comedy series, PEN15. Matt McBrayer, Amelia Allwarden, and John Daigle each carried the baton of this hormonal series and ran fearlessly through the toe-curling onscreen experiences of the protagonists.  They were happy to share what they learned about portraying friendships, the difficulties of editing improv, and finding the heart and soul of a story. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we sit down with Marco Capalbo, one of Werner Herzog's long-time editors. After eight years of collaboration on projects like Nomad: In the Footsteps of Bruce Chapman and Lo and Behold: Reveries of the Connected World, it’s fair to say the two have built a strong creative connection. Learn about Herzog's method for documentary storytelling, and hear Marco's advice for building lasting creative relationships. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we speak with editor Jennifer Lilly. Jennifer has a flair for shaping the stories that lie outside of the bell curve, as shown in her work on Bo Burnham's Eighth Grade, as well as The One I Love and Electrick Children. But this unconventional approach to storytelling earned her a Primetime Emmy for her work on season three of Master of None. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.