Art of the Cut

Today on Art of the Cut, we speak with the editors of Amazon Prime’s Spider Noir. In two separate interviews we first spoke to Jennifer Barbot, ACE, then to Geraud Brisson, ACE, and Eric Kissack, ACE.

Jennifer Barbot cut the series finale of Amazon Prime’s Lucky. Her other work includes Dope Thief, Your Honor, Raised by Wolves, and Man in the High Castle.

Geraud has been on Art of the Cut before for Coda and for Lessons in Chemistry, for which he was nominated for an ACE Eddie. His other work includes the recently released film Being Heumann, the film Camp X-Ray, and the TV series, Shogun.

Eric has been on Art of the Cut before for his work on The Studio, on which he also worked as a producer. His other work includes Pam & Tommy, The Good Place, VEEP, and Horrible Bosses 2.

Todays discussion includes the creativity of the Emmy-winning sound of a different kind of Spider, the advantages of collaborating in person, and the importance of temping voices with the right cadence.

If you'd like to read long with this podcast and see the trailer, images of the editors and images from the show, check out the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with the editors of the HBO series, Lanterns, which recently had its season finale.

We spoke with Emily Greene, ACE, Matthew Colonna, ACE, and supervising editor, Vikash Patel.

Vikash - or Viks - has been on the show before for Black Rabbit and Ozark. He was nominated for Emmys for both those shows. He also won an Emmy for Top Chef. Viks’ other work includes The Sympathizer, The Morning Show, and Jack Ryan.

Emily was nominated for an Emmy and an ACE Eddie for American Crime Story. Her other work includes Foundation, The Blacklist, Percy Jackson and The Olympians, and Mrs. America.

Matt is an Emmy nominee for Dexter. His other work includes, It: Welcome to Derry, Narcos, and Friday Night Lights.

Our discussion covers the dangers or remote work, developing the aesthetic of a series in the pilot, and editing multiple versions of a scene to test the right tone.

If you'd like to read along with this podcast and see images of the post team, check out the BorisFX blog.

borisfx.com/blog/aotc

Today on Art of the Cut e speak with Conor O’Neill and Oscar-winning editor Stephen Mirrione, ACE, about editing Alejandro Inarritu’s Digger.

Stephen’s been on Art of the Cut before for F1 and The Revenant, for which he was nominated for an Oscar award BAFTA and an ACE Eddie. He was nominated for another BAFTA and an ACE Eddie for Birdman. He was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel.

He also WON the Oscar and was nominated for a BAFTA and an ACE Eddie for editing Traffic.

Conor has edited numerous documentaries including Cobain: Montage of Heck, Capitalism: A Love Story, and Crossfire Hurricane for which he was nominated for an Emmy. He was additional editor on Moneyball and was an editor on the TV series Lioness. He also won the special jury prize at Sundance for the editing of Murderball

Today’s discussion includes the value of screening dailies with the director and other H.O.D.s, how Hamnet influenced Digger, and what NOT to say in a job interview.

If you want to read along with this podcast, and see actual before and after screenshots of the Avid timelines of certain scenes, go to the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Oscar-nominated editor Dody Dorn, ACE, about her work on David Ayer’s film, Heart of the Beast.

Dody’s been on Art of the Cut before for Power Rangers and Army of the Dead. Her other work includes Memento, for which she was nominated for an Oscar, Fury, and Insomnia, among many other film and TV shows.

Today’s discussion includes things like re-purposing the end of the movie to be the new beginning, the editing challenges of a dog co-star, and placing flashbacks for maximum emotional and story value.

If you want to read along with the podcast, you can check out the blog which also has images and featurettes and the trailer. It's on the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Oscar-nominated editor Christopher Tellefsen, ACE, about his work on The Whisper Man.

Chris has been on Art of the Cut before for The Menu, The Many Saints of Newark, A Quiet Place, and Assassin’s Creed. He has an Oscar nomination for Money Ball. He has ACE Eddie nominations for The Menu, Joy, Money Ball, Analyze This, and Man on the Moon. Chris was an assistant editor to legendary editor, Thelma Schoonmaker.

A discussion of how The Whisper Man was radically re-shaped to speed the story and establish its thriller tone, plus developing a rhythm of the story beats to strengthen emotional revelations, and much more.

If you want to, you can reac along with this interview and see the trailer and images from the film on BorisFX's blog site:

borisfx.com/blog/aotc.

Today on Art of the Cut, the Emmy-winning editors for Best Picture Editing for a Nonfiction Program: Sean Combs: The Reckoning, a four part doc-series from Netflix. Interviewed for the project were Charles Divak, ACE, Jeremy Siefer, ACE, Evan Wise, ACE, and Benjamin Kast, ACE. Unable to join in the call were editors Adam Goldstein, ACE, Jack Gravina, ACE, and Jonathan Miller.

Charles Divak has been on Art of the Cut in the past for Chimp Crazy, for which he was nominated for an Emmy and won an ACE Eddie. His other work includes Full Frontal with Samantha Bee for which he was nominated for an Emmy, and The Circus: Inside the Greatest Political Show on Earth, for which he was nominated for an ACE Eddie.

Jeremy Siefer’s previous work includes HBO’s Storm Over Brooklyn, Netflix’s Blood Brothers: Malcolm X & Muhammad Ali, and Showtime’s Bronx Obama.

Evan Wise has been on Art of the Cut in the past for Chimp Crazy for which he was nominated for an Emmy and won an ACE Eddie. His other work includes Q: Into the Storm, for which he was nominated for an Emmy, and The Circus: Inside the Greatest Political Show on Earth for which he was nominated for an ACE Eddie.

Benjamin Kast is a previous ACE Eddie nominee for The Circus: Inside the Greatest Political Show on Earth. His other work includes the HBO docu-series, Monsters of God, and The Britney Griner Story.

Today’s discussion includes how the structure of the series evolved, the remote workflow, and the editorial strategies used to clarify a complex story.

If you'd like to read along with this podcast, check out the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut, the Emmy-winning editors for Best Picture Editing for a Limited Series: Kevin Ross, ACE and Max Koepke (KEP-key) and their HBO series, DTF St. Louis.

Kevin has been on Art of the Cut in the past for his work on Stranger Things for which he was an Emmy and ACE Eddie nominee. His other work includes Yellowjackets and Halt and Catch Fire, among others.

Max has also been on Art of the Cut before for his work on Winning Time: The Rise of the Lakers Dynasty and Chad Powers, among others.

Today’s discussion is of topics including manipulating the chronological story to improve the storytelling, working with a showrunner who is also the director and writers, and the value of editing a the same scene with two different intentions.

You can read along with this interview if you want and see images and the trailer from the series on the BorisFX.com blog site:

borisfx.com/blog/aotc

Today on Art of the Cut, Carsten KoorPANek discusses the editing of a film that is very unusual: Coyote versus Acme. Firstly, it’s a combination of live action and animation, and second, the studio decided not to release it after it was already completed. Only years later did another company swoop in and buy the distribution rights and decide to release the film that had been languishing in a vault for almost three years.

Kurpanek has edited numerous films, including Rambo: Last Blood, Escape Plan 2: Hades, and an episode of the TV series Eastsiders. He also was a previs editor on Teenage Mutant Ninja Turtles: Out of the Shadows.

Today’s discussion includes topics like the benefits of “prevising” an entire movie, the iterative process that shapes a film, and the scene that was scripted for the middle of the film but ended up as the inciting incident.

You can read along with this podcast and see images from Carsten's edit suite and post production process as well as the trailer and a clip from the film on the borisfx blog site:

borisfx.com/blog/aotc

Today on Art of the Cut, editor Sam Restivo, talks about editing Ridley Scott’s “The Dog Stars” with co-editor, Oscar-winner, Claire Simpson.

Sam has been on Art of the Cut before for Gladiator 2 and Napoleon. He was also an additional editor on House of Gucci, The Last Duel, and The Greatest Showman.

Today’s discussion includes topics like the importance of setting up the movie with its meditative open, the careful use of aerial footage, and knowing when to let a powerful performance dictate the decision NOT to cut.

If you want to read along with this interview, a full transcript is available at the BorisFX blog site.

borisfx.com/blog/aotc

Today on Art of the Cut, editor John Axelrad, ACE, and additional editor, Taylor Bynum, discuss editing the summer blockbuster, The End of Oak Street.

John has been on Art of the Cut for a full decade with Lost City of Z, Antebellum, Ad Astra, and Chevalier. He also edited Spaceman and Papillon, among many others with editing credits going back almost 25 years.

Taylor was a first assistant promoted to additional editor on this film. He’s had various jobs on the post teams of Mickey 17, Spaceman, Ant-Man and the Wasp: Quantumania, and many others.

Today’s discussion includes topics like how intercutting affects a film's rhythm, a classic cutting-room prank, and how a codebook can free the creative process.

If you'd like to read along with this podcast, and see the trailer, a timeline and exclusive stills, check out the BorisFX blog site at

borisfx.com/blog/aotc

Today on Art of the Cut, the editors of Spider-Man Brand New Day: Nat Sanders, ACE, Harry Yoon, ACE, and Gina Sansom.

Nat has been on Art of the Cut before Just Mercy, and for Shang-Chi and the Legend of the Ten Rings, He was nominated for an Oscar and an ACE Eddie for editing Moonlight. He’s also edited If Beale Street Could Talk and Short Term 12, among others.

Harry has been on Art of the Cut before for Detroit, Beef, The Best of Enemies, The Fire Inside, Minari, Shang-Chi and the Legend of the Ten Rings, and Thunderbolts. Harry has an ACE Eddie win for Beef, and an ACE Eddie nomination for Minari.

Gina is an Emmy nominee for the TV series Horace and Peter. Her other editing work includes Wonder Man, The Lowdown, and Our Flag Means Death, among others.

Today’s discussion is about how they collaborated to compress the opening montage, the value of audience screenings, and their workflow - starting with previs, through postvis and final vendor VFX.

You can read along with this podcast and see the trailer, clips and exclusive images at the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut, editor Sierra Neal, ACE, discusses her Emmy-nominated work on the Netflix documentary Marty, Life is Short.

Sierra has been on Art of the Cut several times on the documentaries, Jim Henson: Idea Man, for which she received an Emmy, and for three other documentaries, Music by John Williams, Pavarotti, and The Beatles: Eight Days a Week. She was also an additional editor on the documentary Carlos, about Carlos Santana, which was also covered on Art of the Cut.

Today’s discussion is about the importance of structure and when things are revealed to the audience, the use of selects reels as a muse, and the importance of tone.

If you want to read along with this podcast and see images from Sierra's cutting room and from the documentary, please check out the BorisFX.com blogsite:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Angel Gamboa Bryant, ACE, who is nominated this year for Emmys for both The Upshaws – for Outstanding Picture Editing For A Multi-Camera Comedy Series - and Wanda Sykes Legacy – for Outstanding Picture Editing For Variety Programming.

Angel has been nominated for nine total Emmys and four ACE Eddies. Her other credits include the feature film Off the Rails, and TV series, Poppa’s House, History of the World Part II, Project Runway, Last Comic Standing, and many others.

Today, we’ll be talking about the different types of comedy editing, the pressure of being on set, and the importance of the laugh track in stand-up and sit-com.

If you'd like to read along with this podcast and see photos and trailers from the Emmy nominated projects, visit the BorisFX blog site, which has great content for filmmakers of all types.

borisfx.com/blog/aotc

Today on Art of the Cut, Amy Duddleston, ACE and Keiko Deguchi, ACE, the Emmy-nominated editors of HBO’s Task.

Amy’s been on Art of the Cut in the past to discuss Mare of Easttown for which she received two Emmy nominations and won an ACE Eddie. Her other work includes the feature film, High Art, and TV series including The Umbrella Academy, American Gods, and Dexter.

Keiko’s work includes Love and War, We the Animals, and Hustle.

Today on the show, a discussion of pacing a show up without losing important character moments, regulating the emotion of a scene by choosing the specific temperature of a performance, and how a resolving chord in music offers a lesson in editing.

If you're interested in reading along with the podcast, check out the BorisFX blog site, where you can also see exclusive images, the trailer and a timeline from one of the episodes.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with the editors of the Emmy nominated Netflix mini-series, Death by Lightning. With us today are Joseph Krings, ACE, Anna Hauger, ACE, Michael Ruscio, ACE, and Joe Leonard, ACE. Additional Editors, Bridget Case and Derek Desmond were not on the call, but we want to acknowledge their part on the series and in the show’s Emmy nomination.

Anna has been on Art of the Cut in the past for her work on The Three Body Problem and for Dune Prophecy. She’s also been nominated for Emmys for Watchmen and Station Eleven. She’s also edited on Westworld.

Michael was on Art of the Cut with Anna for The Three Body Problem, for which he was nominated for an Emmy. His other work includes Altered Carbon, House of Cards, and Homeland.

Joseph Krings has also edited Captain Fantastic, Supermensch, and Rosemead, among others.

Joe Leonard has been nominated for Emmys for Gaslit and Glee. His other work includes Dark Matter, Mr. Robot, The Man in the High Castle, and Empire.

Today on the show, a discussion of how to keep a historical drama feeling contemporary, how performance can affect the need for a flashback, and the impossibility of judging editing.

If you'd like to read along with this podcast and see exclusive images from post, check out the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut we discuss Olivia Wilde’s film, The Invite, with its two editors, Yorgos Mavropsaridis, ACE, and Anthony “Ant” Boys, ACE. Yorgos worked on the edit through the assembly cut then Ant took over for most of the rest of the edit.

Yorgos has been on Art of the Cut before multiple times for Bugonia, Poor Things, and The Favourite. Yorgos is a Greek editor and graduate of the London Film School. He was nominated for Oscars, BAFTAs, and ACE Eddies, for Poor Things and The Favourite. His other films include Kinds of Kindness, Killing of the Sacred Deer, and The Lobster.

Ant has been nominated for a BAFTA for The Thick of It. He won an ACE Eddie for the TV series, Veep. He’s also edited The Marvelous Mrs. Maisel and The Great, among other work.

Today on the show, a discussion of the rules of cutting comedy, how to talk about the performance of an actor who’s also the director, and the difficulty of editing overlapping dialogue.

If you're interested in reading along with this podcast and seeing the movie clips that were discussed, you can visit the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Greg Ng about editing the Kane Parson’s indie phenomenon, Backrooms.

Greg was last on Art of the Cut for LongLegs. Greg is the nominee and winner of numerous Canadian Screen Awards, Canadian Cinema Editors Awards, and Leo Awards. His other work includes The Monkey, Keeper, and the TV series, Bones of Crows.

We’ll be talking about how Backrooms was sculpted in the cutting room by structuring the time between the backrooms and the rest of the world, editing within a “Method cutting room,” and patiently basking in the mystery of a “Lovecraftian space.”

If you'd like to read along with this podcast and see cool images - like the cutting room decked out in the yellow wallpaper that covers the backrooms - visit the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with editor Chris Tonick about the feature-film, The Furious.

Chris has edited films like Kung Fu Games, Trigger Warning, and Black Friday. He was a producer on the Walter Murch documentary, Her Name Was Moviola. He’s also been part of the post teams of The Suicide Squad, Once Upon a Time in Hollywood, and John Wick 2.

On this episode, we're discussing - among other things - why the biggest job in this action movie wasn’t cutting the action, how the film’s most memorable moment came from trying out a left-field idea, and how fight scenes are like pop songs.

If you'd like to read along with this interview and see the trailer, clips, and exclusive images, check out the BorisFX blog site:

BorisFX.com/blog/aotc

Today on Art of the Cut, we speak with Terel Gibson, ACE about editing Boots Riley’s feature film, “I Love Boosters”.

Terel has been on Art of the Cut before for his work on the TV series “Skeleton Crew.” His other work includes Sorry to Bother You, Ready or Not, Hawkeye, and The Astronaut.

If you're interested in reading along with today's podcast, check out the BorisFX blog site.

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with editor Sarah Broshar, ACE, on editing Steven Spielberg’s Disclosure Day.

Sarah has been on Art of the Cut several times, last for her editing of The Fablemans. She was nominated for an ACE Eddie for Spielberg’s The Post. Her credits also include Ready Player One, Pet Sematary, and West Side Story.

This discussion will be about the rule when temping score that will be replaced by the legendary John Williams, how the length of the first assembly is a secret even to Spielberg himself, and Sarah’s keys to building suspense and enhancing emotion.

If you want to read along this podcast and see images from the film, the trailer, and images on the post crew, check out the BorisFX blog site

borisfx.com/blog/aotc