Art of the Cut

Today on Art of the Cut we speak with Jabez Olssen, the Emmy-winning editor of Jurassic World Rebirth. Jabez has been on Art of the Cut before to talk about Star Wars Rogue One - which was also directed by Jurassic World Rebirth’s Gareth Edwards - and for Peter Jackson’s documentary The Beatles: Get Back for which Jabez won an Emmy and an ACE Eddie. He was also nominated for a BAFTA for The Lord of the Rings: The Two Towers. His other work includes editing the three Hobbit movies, The Adventures of TinTin, and The Lovely Bones.Our discussion is about how pacing changes and evolves through VFX deliveries, getting notes from Steven Spielberg, and leaving room to appreciate the wonder of an amazing world and so much more.If you'd like to read along with this podcast and see clips, trailers and timeline screenshots, please visit BorisFX's blog site for Art of the Cut.borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-winning editor, Stephen Mirrione, ACE about editing the summer blockbuster, F1.Stephen’s been on Art of the Cut before when he edited The Revenant, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie. He was nominated for a BAFTA and an ACE Eddie for Birdman. He was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel. In 2006 he won the Cannes Film Festival technical Grand Prize for editing. And he won the Oscar and was nominated for a BAFTA and an ACE Eddie for editing Traffic. Not to mention - though I guess I AM mentioning - editing The Monuments Men, August: Osage County,  Hunger Games, and Oceans 11, 12 AND 13.This episode includes discussions of how editing pace is contextual, the value of editors speaking into the script, and how in the HELL do you cope with a 2000:1 shooting ratio!?  Director Joseph Kosinski’s previous blockbuster, “Top Gun Maverick” was 800 hours of film for about a 200:1 ratio. And Apocalypse Now was notably insane at just 95:1.And if you want to read along with this podcast and also see exclusive images, timeline screenshots - with explanations of each track, and trailers and clips, please check out the BorisFX blog:borisfx.com/blog/aotc

Today on Art of the Cut, Eddie Hamolton, ACE, discusses editing Mission: Impossible — The Final Reckoning. Eddie’s been on Art of the Cut numerous times before for Mission: Impossible - Dead Reckoning. He was also on to discuss Top Gun Maverick - which was one of the most listened to episodes in Art of the Cut history. 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.This is an in-depth discussion with Oscar-nominated editor Eddie Hamilton, ACE, about how to cull through 450 hours of footage to build a riveting 15-minute aerial sequence, the need to deliver powerful emotional scenes along with the exposition, and when exactly does an editor need to carry an airsick bag.You really should go to BorisFX.com's blog site and read along with this interview to see some gorgeous timeline screenshots, exclusive photos from the movie you won't see anywhere else and clips and trailers.Visitborisfx.com/blog/aotc

Today on Art of the Cut, we’re speaking with the editorial team of Daredevil Born Again. With us are Emmy-winning editor Stephanie Filo, ACE, Melissa Lawson Chueng, and Cedric Nairn-Smith.Stephanie has been on Art of the Cut to talk about her work on the film We Grown Now. And before that to discuss her Emmy and ACE-winning work on A Black Lady Sketch Show, her Emmy-nominated work on Dahmer: Monster - the Jeffrey Dahmer Story and History of the World Part II. Stephanie has also won an Emmy and a Peabody Award for her documentary editing work.Melissa has been on Art of the Cut before for her editing of the film Mile 22, and for the TV series Outlander. She also edited the series Mr. Robot. Cedric was an editor on Moon Knight and The Boys.This discussion includes the power of sound design, the benefits of having an assistant editor who’s a great vocal impersonator, and when to start a scene on a close-up instead of on an establishing shot.You can read along with this interview and see trailers, clips, exclusive photos and timeline screenshots at the BorisFX blog!borisfx.com/blog/aotc

Today on Art of the Cut, we’re speaking with the editorial team of Beast Games. Including lead editor, Mack Hopkins,  Nolan Ritter, Charles Kramer, ACE, Beast post supervisor Joshua Kulic, on-line post supervisor Lydiane Heckly.Mack Hopkins is lead editor, co-host, and co-creator of Beast Games. Nolan Ritter is a senior editor at the MrBeast YouTube channel in addition to his editing of Beast Games. He was also an editor on the upcoming series “The Larry David Story.”Charles Kramer, ACE, is an Emmy-nominated editor of such shows as The Voice, The Osbourne’s, Project Greenlight and Big Brother.Joshua Kulic is the Post Production supervisor and Executive Producer on Beast Games and MrBeast. His other TV work includes World of Waves and What Drives You.Lydiane Heckly was a post production supervisor on Sneaker WarsL Adidas vs Puma, Pretty Baby: Brooke Shields, and History’s Crazy Rich Ancients. This discussion includes how to coordinate the creative vision of more than 20 editors and 22 assistant editors, the role of probability when dealing with 1000 contestants and more than 1000 cameras, and the key ingredient in the Mr. Beast editorial style.You can read along with this interview and see trailers, clips and exclusive images on the BorisFX blog:borisfx.com/blog/aotc

Today on Art of the Cut, we speak with the lead editor, David Palmer, and two additional editors, Sierra Neal and Jason Summers, about the Disney +/Amblin Television documentary, Music by John Williams.David Palmer edited The History of the World… for now…, The Making of Close Encounters of the Third Kind, The Music of Indiana Jones, The Light and Magic of Indiana Jones, and The Making of Jaws.Sierra Neal has been on Art of the Cut several times, including for Jim Henson: Idea Man, and Ron Howard’s Pavarotti. She also edited Guns N' Roses: Live in New York and was an additional editor on the documentary, Carlos.Jason Summers edited 40 Years of E.T. The Extra-Terrestrial, Schindler's List: 25 Years Later, The Fabelmans: A Family in Film, and The World of Jurassic Park.This discussion includes delivering a 90 minute first cut in under 2 months, the difficulties of dealing with licensed music and films, and the painful power of killing a fantastic story beat.You can read along with this podcast on the BorisFX blog site! See clips, trailers and exclusive photos along with the transcribed text.borisfx.com/blog/aotc

Today on Art of the Cut, ACE Eddie-nominee Angela Catanzaro, ACE, and ACE Eddie-winner Harry Yoon, ACE discuss editing the latest entry into the Marvel Cinematic Universe, Thunderbolts*.Angela’s been on Art of the Cut before for Prey, The Protege, and Five Feet Apart. She also edited The Foreigner.Harry’s been on Art of the Cut in the past for The Fire Inside, Shang-Chi and the Legend of the Ten Rings, Minari, The Best of Enemies, Detroit, and for the TV series Beef. This discussion includes the benefits and drawbacks of editing on set,  why this was a rare VFX-heavy movie with no previs, and how to prep your assistant editors to be ready to step into the chair.You can also read along with the podcast on the Boris FX blog site to see exclusive on-set photos of the editors, clips, trailers and timeline screenshots.borisfx.com/blog/aotc

Today on Art of the Cut we’re speaking with Oscar-nominee Richard Pearson, ACE, about editing The Accountant 2. Richard’s been on Art of the Cut several times in the past for the original The Accountant film, also for Wonder Woman 1984, and Kong: Skull Island. Richard’s also worked on Men in Black 2, and the Bond movie, Quantum of Solace. He was nominated for an Oscar and an ACE Eddie and won a BAFTA for United 93. He was also nominated for an ACE Eddie and an Emmy for From the Earth to the Moon.This discussion includes the use of invisible split-screens to craft pacing, developing montages, and the keys to editing a good action scene - of which, this movie has plenty of great examples.If you'd like to see images and clips and trailers from the movie and from the editor, please check out the BorisFX blog:borisfx.com/blog/aotc

Today on Art of the Cut we speak with Michael Shawver about editing Ryan Coogler’s feature film, Sinners.Michael’s been on Art of the Cut in the past for his work on Black Panther. His other work includes Abigail, A Quiet Place 2, Creed, and Fruitvale Station. This discussion includes - among other things - how the first scripted scene ended up in act 2 while the last scene ended up as the first scene, how therapy can turn you into a better editor, and the artistic challenges of one actor playing two parts.You can read along with this interview and see stills from the movie, clips and trailers on the BorisFX blog of the same name:borisfx.com/blog/aotc

Today on Art of the Cut we speak with the editing team of the HBO series Dune Prophecy.Amelia Allwarden, ACE has been on Art of the Cut in the past for Daisy Jones and the Six and Pen15. She also edited Westworld.Anna Hauger, ACE has been on Art of the Cut before for Three Body Problem. She’s also edited Westworld, Station 11 and Watchmen.Sarah C. Reeves, ACE has edited Westworld, Star Trek Picard, Gotham and The Walking Dead.Mark Hartzell, ACE has edited The Last of Us, True Blood and Monarch: Legacy of Monsters.This discussion includes - among other things - mentorship, how an assistant editor can show they’re ready to be elevated to “the chair” and how editing is best when it’s iterative.You can read along with this podcast and see images, clips and trailers on the BORISFX blog:borisfx.com/blog/aotc

Today on Art of the Cut we’re speaking with the ACE Eddie-winning team of editors for Best Documentary Series - for HBO's Chimp Crazy. With us are supervising editor, Evan Wise, ACE, editors, Adrienne Gits, ACE, Doug Abel, ACE, Charles Divak, ACE, and additional editor Sascha Stanton Craven.Evan’s been nominated for multiple Emmys and ACE Eddies, including for his work on Q: Into the Storm, and The Circus: Inside the Greatest Political Show on Earth. He’s also edited on the TV series The Anarchists.Doug's been nominated for numerous Emmys and ACE Eddies. He edited the TV series Tiger King. He’s edited for The Oscars, and he edited the documentary Manda Bala: Send a Bullet.Adrienne’s also been nominated for multiple Emmys and ACE Eddies including for her work on the documentaries and documentary series, Fearless, 100 Foot Wave, and Challenger: The Final Flight.Charles has similarly been nominated for multiple Emmys and ACE Eddies including for his work on Full Frontal with Samantha Bee, and The Circus: Inside the Greatest Political Show on Earth.Sascha edited the Jackass Forever Movie and Jackass 4.5. And cut the TV series On Cinema. This discussion includes - among other things - how story structure informs the audience’s emotions, the joy of a good montage, and how Stanley Kubrick helped to deliver a climactic moment.If you'd like to read along with this interview and see exclusive photos and timelines and watch the trailer, check out the Art of the Cut blog on BorisFX.comborisfx.com/blog/aotc

Today on Art of the Cut we speak with the three editors of the Disney+/LucasFilm show Skeleton Crew which is from the Star Wars story universe.Editor Andrew Eisen, ACE, has been on Art of the Cut before to talk about The Mandalorian for which he’s been nominated for two Emmys.  He’s edited feature films including The Imitation Game and A House with a Clock in its Walls and was an additional editor on Guardians of the Galaxy 2.Terel Gibson, ACE, also edited the recently released feature film The Astronaut, as well as the feature films Sorry to Bother You and Ready or Not. He also edited episodes of the TV series Hawkeye.Kathryn Naranjo was an editor on Stranger Things and has been an assistant editor on feature films including The Adam Project, and Free Guy, also on TV series including Halt and Catch Fire.This discussion includes - among other things - cutting the show three times: in storyboards, previs, and finally with live action footage from The Volume, how sound creates believable world-building, and when exactly do you use a “Star Wars Wipe.”You can read along with the podcast on the blog where you can see timeline screenshots, exclusive images and more. Check out:borisfx.com/blog/aotc

Today on Art of the Cut we speak with three guests: the co-director and show editor and montage editor of the documentary Ladies and Gentlemen: 50 Years of SNL Music.Oz Rodriguez co-directed the documentary with Ahmir “Questlove” Thompson. Oz directed many of your favorite SNL Shorts, and has also directed episodes of Goosebumps and Nobody Wants This. John MacDonald was an associate producer on SNL. He’s an editor, composer and segment producer on The Tonight Show Starring Jimmy Fallon. You’ve probably had some of his YouTube videos running on repeat. Jimmy Lester has been nominated for a Documentary Emmy for  Stockton on My Mind. He’s edited episodes of Wu-Tang Clan: Of Mics and Men, History Channel’s FDR series, and the doc, Getting Naked: A Burlesque Story.This discussion includes - among other things - why so many editors are also musicians, the value of a great assistant editor - and how to be one - and the art of using a talking head.This is a really good show to check out the blog, which has many exclusive images that help show how the montage, in particular, was edited. Visit:borisfx.com/blog/aotc

Today on Art of the Cut we speak with the director and editor of the documentary film Ernest Cole: Lost and Found.Director Raoul Peck won the Cannes Golden Eye Award and was nominated for a Palme d’or. He was nominated for a DGA Award for Outstanding Directorial Achievement. He won a BAFTA, an Emmy and was nominated for an Oscar and an Independent Spirit Award for his previous film, I Am Not Your Negro. Editor Alexandra Strauss has been nominated for three Cinema Eye Honors Awards for Outstanding Achievement in editing including one for this film and two others you’ll hear about in the interview: I Am Not Your Negro and Exterminate all the Brutes.This discussion includes - among other things - the ethical considerations of showing violence, how tone affects pace, and how the director/editor relationship can open the director up to be more objective.If you'd like to read along with this podcast and see clips and trailers and stills from the documentary, check out:borisfx.com/blog/aotc

Today on Art of the Cut we speak with Harry Yoon, ACE about his editing of the film The Fire Inside.Harry has been on Art of the Cut before for his work on the films Shang-Chi and the Legend of the Ten Rings, Minari - for which he was nominated for an ACE Eddie, also The Best of Enemies, and Detroit. He’s also been on for the TV series, Beef, for which he won an ACE Eddie. This discussion includes - among other things - working with a first time feature director, streamlining a narrative to increase impact, and how to build a scene that was never shot.While you're listening you can also READ ALONG with this interview and see exclusive photos and clips and the trailer. There's a cool timeline screenshot and a picture of Harry's assistant editors with the STORY WALL in the cutting room!Borisfx.com/blog/aotc

Today on Art of the Cut we speak with director, writer, editor Sean Baker who was nominated for Oscars for Best Picture, Best Director, Best Screenplay, and Best Editing for his film, Anora. He was nominated for BAFTAs for Best Film, Best Editing, Best Casting, Best Screenplay and Best Director. He won AFI’s Movie of the Year, and was nominated for an ACE Eddie. Sean’s other feature films include Red Rocket, Tangerine, and The Florida Project. This discussion includes - among other things - why he chose to edit for himself, the importance of sound effects in a movie with no score, and Sean’s aversion to editing shot/reverse shot. You can read along with this podcast and see trailers, clips and photos on the BorisFX blog site. borisfx.com/blog/aotc

Today on Art of the Cut we speak with Dávid Jancsó, the editor of The Brutalist.  David’s been busy! He also edited last year’s Monkey Man as well as films like Evolution and Pieces of a Woman as well as the TV series The Crowded Room and Treadstone. This discussion includes - among other things - how editing is like Brutalist architecture, the purpose behind fracturing time, and the decisions on what to keep in a movie that runs three and a half hours. You can read along with this interview and see clips and images at: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-winning editor - and now DIRECTOR - William Goldenberg, ACE about his directorial debut - the NUMBER ONE GLOBAL MOVIE on Amazon - Unstoppable. Of course, we also have William’s editor - no, he didn’t edit it himself - Brett Reed. Brett and William have been working together for more than 20 years. William has been on Art of the Cut many times, including for The Instigators, Air, The Outfit, News of the World, 22 July, Detroit, and Live By Night. Billy won the Oscar for Best editing, a BAFTA and an ACE Eddie for Argo. He was nominated for an ACE Eddie for Air, an Oscar nomination and a BAFTA nom for The Imitation Game, nominated for an Oscar for Zero Dark Thirty, nominated for an Oscar and an ACE Eddie for Seabiscuit, and for The Insider… and an Emmy for Citizen X.  Brett was also on The Instigators. He was an editor on M. Night Shyamalan’s Old. He was also an additional editor on Transformers: Rise of the Beasts, Detroit and Live by Night. This discussion includes - among other things - the editing skills that helped William transition to director, why - other than their long working relationship - that William chose Brett as his editor, editing handheld footage - and a fascinating bit of Hollywood lore about Led Zeppelin and the movie Argo. If you'd like to read along with this interview and see the complete clips that we discuss in the interview, please go to: borisfx.com/blog/aotc

Today on Art of the Cut we speak with editors Scott Morris and Oscar-winning editor Andrew Buckland, ACE about editing James Mangold’s A Complete Unknown. Andrew’s been on Art of the Cut before for his work on The Girl on the Train, and for Ford v Ferrari for which he won an Oscar and a BAFTA and was nominated for an ACE Eddie. He also edited Indiana Jones and the Dial of Destiny. Scott Morris has been on Art of the Cut previously to discuss The Creator and Ad Astra. In various capacities he was also worked on several other movies covered by Art of the Cut including Oppenheimer, Don’t Look up, and The Lost City of Z. This discussion includes - among other things - the difficulties of editing folk music, compressing multiple scenes into a montage, and the sacrifices made cutting a three and a half hour editor’s cut down to size. If you'd like to read along with this podcast and see trailers, clips and exclusive photos, check out the blog on: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Nick Emerson about editing Conclave, for which he’s nominated for an ACE Eddie for Best Edited Feature Film, Dramatic/Theatrical. Nick has been on Art of the Cut before, when we discussed the film Emma. His other credits include the feature films Lady MacBeth, Eileen, and Greta, and TV series including The Life and Adventures of Nick Nickleby and Life After Life. This discussion includes - among other things - the importance of slowly “drip-feeding the story to the audience, the use of slo-mo to add weight and importance, and how and when to break the 180 degree rule. If you'd like to read along with this podcast and see some of the clips that we talk about, please check out: borisfx.com/blog/aotc