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

Today on Art of the Cut we speak with four of the editors on the buzzy new Amazon Prime series, Young Sherlock. With us are Cheryl Potter, Calum Ross, Phil Hookway, and Tim Murrell.

Cheryl’s been on Art of the Cut before, starting back when she was an additional editor for Pietro Scalia, ACE, on Ridley Scott’s The Martian. We’ve also talked to her about the TV series, Snowpiercer. Her other credits include The Lord of the Rings: Rings of Power.

Tim Murrell has edited features like Monkey Man and 21 Bridges, and TV series like The Terror and Patrick Melrose.

Philip Hookway has edited TV series, Deep State, Being Human, and Torchwood.

Calum Ross has edited TV series including Loki, The Devil’s Hour, Sex Education, and Not Another Happy Ending. 

Today we’re discussing the importance of in-person collaboration for the edit team, the power of adjusting the tonal dial “just so,” and the benefit of re-thinking how the show begins.

You can read along with this interview and see images of the editing crew, the trailer and even a timeline screenshot at the BorisFX blogsite:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Nathan Schauf about his ACE and Annie-winning editing of the Oscar-winning Sony Pictures Best Animated film, KPOP Demon Hunters currently available on Netflix.

Nathan’s other work includes Overwatch: Origin Stories, World of Warcraft: Harbingers, and additional editing on Penguins of Madagascar, among many other projects.

Today’s discussion includes how the movie itself rejects ideas that don’t work for it, how animation sometimes has intercutting that isn’t scripted, and finding the right spots to take the foot off the gas pedal for JUST a moment.

If you'd like to read along with this podcast and see the trailer, clips, the timeline screenshot and more, check out the BorisFX blog at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Axel Geddes, ACE about the latest Pixar film, Hoppers.

Axel and I talked previously about Toy Story 4 for which he won an ACE Eddie. He also has Annie nominations for Best Editing for Toy Story 4, Toy Story of Terror, and Lightyear. His other credits include Finding Dory, and second editor or additional second editor work on Lightyear, Turning Red, Toy Story 3, and WALL-E.

Today’s discussion includes how a character’s POV affects the film’s  score, the editor’s role in sculpting the performance of a single shot, and how being a musician can help an editor in ways you may not have considered - maybe it’s time to take up the ukulele…

If you'd like to see some really cool exclusive images, like LOTS of timelines, PIXAR storyboards, and photos of the editing crew, visit our blog!

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Yvette M. Amirian, ACE, who just won the ACE Eddie Award for Best Edited Feature Film (non-theatrical) with her work on A Winter’s Song.

Yvette (and her editorial team) received an ACE Eddie nomination for Best Edited Reality Series for Whale Wars. She was also an editor on John Singleton's L.A. Burning: The Riots 25 Years Later, which was nominated for an Emmy for Outstanding Documentary Special. She also edited the film The Integrity of Joseph Chambers and the reality TV series, Dating Around, among many other projects.

Today’s discussion includes Yvette’s approach to montages, the value of intercutting scenes, and using transition shots for maximum effect.

If you'd like to read along with this interview and see photos and the trailer and a timeline screenshot of the film, please visit the BorisFX website for the Art of the Cut blog:

borisfx.com/blog/aotc