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

Today on Art of the Cut, we speak with editor Doc Crotzer, ACE, about the HBO film, Miss you, Love You.

Doc is an ACE Eddie winner for Roadhouse, and an ACE Eddie nominee for his work on the TV series, Glee. A frequent collaborator of Doug Liman, Doc’s other work includes the John Wick spinoff Ballerina, Sons of Anarchy, and producing, directing and editing the TV series Good Behavior.

A discussion about how to find the rhythm in the silences, the challenges of editing with very little music, and when to turn Walter Murch’s “blink” rule against itself.

If you want to read along with this interview and see images from the movie, clips, the trailer, timeline screenshots and a photo of Doc's editing set-up, check out the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Rachel Goodlett Katz, ACE, and Dylan Firshein - the editors of Star Wars: The Mandalorian and Grogu.

Dylan’s been on the show before when we discussed the TV series, The Mandalorian, for which he’s been nominated for two Emmys. He also edited on The Book of Boba Fett. Dylan was also a first assistant editor on Solo: A Star Wars Story, and The Big Short.

Rachel’s also been an editor on The Mandalorian TV series. Her other TV work includes Halt and Catch Fire, The Walking Dead, and Gossip Girl. She also edited parts 1, 2, and 3 of the Fear Street films.

Our discussion today is about the value of editing on set, the challenges and possibilities of editing with a masked main character, and the power of cinematic inspiration from the classics

If you'd like to read along with this podcast and see images - like the amazing on-set editing set-up, please visit the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with two of the editors of Apple TV’s Shrinking – James Refroe, who is also an associate producer on the show, and Sarah Lucky.

Sarah has also edited Scrubs, I Love That for You, Senior Year, and Grace and Frankie.

James has also edited Abbott Elementary, Bad Monkey, Superstore, Uncle Buck, and The Muppets.

Our discussion today details the keys to editing comedy, how to support character development through editing, and the importance of mentorship with assistant editors.

If you'd like to read along with today's podcast and see the trailer, clips, exclusive photos and the timelines from the scenes discussed in the podcast, visit the BorisFX blogsite:

borisfx.com/blog/aotc

Today on Art of the Cut, the three editors of Vince Gilligan’s Pluribus, Skip Macdonald, ACE, Chris McCaleb, ACE, and Joey Liew, discuss editing the series.

Skip’s been on Art of the Cut before for El Camino. He’s an Emmy winner and ACE Eddie winner for Breaking Bad, and a multiple Emmy nominee for Breaking Bad, Fargo, and Better Call Saul. And has ACE Eddie nominations for Pluribus, Breaking Bad, and Better Call Saul.

Chris has multiple Emmy nominations and ACE Eddie nominations for Breaking Bad and Better Call Saul, and an ACE Eddie win for Better Call Saul.

Joey is an ACE Eddie winner for Better Call Saul, and has also been an editor on Rabbit Hole.

Our discussion today is about  the tightrope walk of editing without temp score, how long can you be away from the main protagonist, and the value of sleeping on a new cut.

If you'd like to read along with today's podcast and see the trailer and clips and images from the show, check out the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Tamara Meem, editor of Remarkably Bright Creatures, now on Netflix.

In addition to Tamara’s work on Remarkably Bright Creatures, she also edited Wander Darkly, First Match, The Sound of My Voice, and the TV series, The Decameron, and The Last Thing He Told Me. Tamara lives in Los Angeles, but is from Australia.

Our discussion today is about how story is structure, the ability of montage to mine the gold of deleted scenes, and the power of holding on a great performance.

If you want to read along with this podcast and see images from the film, and post, like the timeline screenshot, go to the BorisFX.com blog site.

Borisfx.com/blog/aotc