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Conversations With Film and TV Editors
67 Episodes
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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.
1In 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.
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