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

Today on Art of the Cut we speak with Andrew Marcus, the editor of The Devil Wears Prada 2.

Andrew has edited Howard’s End, for which he was nominated for a BAFTA, Much Ado About Nothing, the 1994 Frankenstein movie, Hedwig and the Angry Inch, Remains of the Day, American Psycho, and Under the Tuscan Sun, among many others.

Our discussion today is about the freedom he has in the editor’s cut, the importance of calibrating the amount of set-up of a joke, and building montages that were not in the script.

If you'd like to read along with this inteview and see images from the film, the trailer and clips, visit the BorisFX blog site.

borisfx.com/blog/aotc

Today on Art of the Cut, we have the lead editor and the VFX editor of the documentary series, The Dinosaurs, from Netflix and Amblin’ Entertainment.

Ben Lavington Martin, BFE was the lead editor on the series and cut the first episode. His other work includes The World According to Jeff Goldblum, David Attenborough's Natural History Museum Alive, One Strange Rock, and Nova, among many others.

Matt Howorth was the visual effects editor. His other credits include shorts: Rodents and Bull Shark Bandits.

Our discussion today is about walking the line between animation editing and natural history documentary storytelling… and calibrating science, entertainment, and emotion over eons of evolution.

If youre interested in reading along with this interview and seeing the trailer and clips and images from the docu-series, check out BorisFX's blog site:

borisfx.com/blog/aotc

Today on Art of the Cut we discuss the documentary, The AI Doc: Or How I Became an Apocaloptimist with the editors of the film, Daysha Broadway, ACE, and Davis Coombe. The film was produced and directed by some of the same team that created the film Everything, Everywhere, All at Once.

Daysha’s been on Art of the Cut before for The Black Lady Sketch Show, for which she won an Emmy and was nominated for an ACE Eddie Award. She was also nominated for Emmys for Born This Way, and a Peabody Award for Surviving R. Kelly.

Davis is known for editing Casting JonBenet, The Social Dilemma for which he is an Emmy winner, Saving Face for which he won another Emmy, and Chasing Coral.

Our discussion today is about the structure of the film, creatively re-purposing animation, and when not to cut on-camera interviews.

If you want to read along with this podcast and see images from the movie, clips, the trailer and even the Adobe Premiere timeline, visit the BorisFX.com blog site at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Joshua Raymond Lee, the co-editor of The Drama, and his first assistant editor, Devon Halliday.

Joshua is an Emmy and ACE Eddie-nominee for editing the limited TV series, Ripley. He also edited, We Own This City and Monsterland, among others.

Devon worked with Josh on Ripley and We Built this City. She also was an assistant editor on the TV series: And Just Like That and Blue Bloods.

Our discussion today is about co-editing with the director, editing the movie linearly – from start to finish, and editing in Adobe Premiere using Productions.

You can read along with this podcast on the BorisFX blog site and also see the trailer, clips from the film, exclusive photos from post, and the Adobe Premiere timeline, among other goodies. Visit:

borisfx.com/blog/aotc

Today, on Art of the Cut, we discuss Baz Luhrman’s “fever dream” EPIC: Elvis Presley in Concert. I say, “fever dream” because Luhrman won’t label the film as either concert film nor documentary. The film was edited and produced by Jonathan Redmond.

Redmond has been on Art of the Cut before for Luhrman’s scripted narrative feature, Elvis (2022).

Jonathan has edited the film The Great Gatsby and TV series, including The Get Down, Wonders of Australia’s National Parks, Romeo & Juliet: A Monkey’s Tale, and Pelicans of the Ghost Lakes. He was also First Assistant Editor on Moulin Rouge.

Our discussion today includes: honing the film down from over 100 music cues, creating dynamics, and the final key to unlocking the film.

You can read along with this podcast on the BorisFX website and also see the trailer, clips, and lots of exclusive photos! Check out:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Joel Negron,ACE about editing Project Hail Mary.

Joel was last on Art of the Cut for his work on the Disney film, Jungle Cruise. Joel’s other work includes Thor: Ragnarok, Transformers: Rise of the Beasts, Cocaine Bear, and 21 Jump Street.

Today we’re discussing cutting a six-hour first assembly down to about 2 hours, his approach to exploring dailies, and his best tip for not losing an important moment.

If you want to read along with this podcast, go to the BorisFX blog site at:

Borisfx.com/blog/aotc