Editors - Andrew S. Eisen ACE, Terel Gibson ACE and Katheryn Naranjo

Hiring editors for SKELETON CREW was akin to casting actors, considering how essential each editor's background and style would be in shaping the series. Kat, for instance, found her mark through her work on STRANGER THINGS which resonated with the show's tone of adventure. Meanwhile, Terrell's experience with Marvel projects like HAWKEYE proved that he would be up to the demands and rigors of a VFX heavy tv series.  Finally, Andrew's extensive Star Wars history positioned him as invaluable in guiding the new team. Capturing the right tone was crucial for the editors, as the show combined elements of adventure and comedy with darker themes. Andrew, Kat and Terel discussed the significance of striking a balance, especially when the storyline demanded a shift from lightheartedness to seriousness. Jude Law’s transformation from a seemingly rogue character to a complex anti-hero was a key point of focus, with the team ensuring his evolution was believable and engaging. SKELETON CREW, created by Christopher Ford and Jon Watts, takes place in the same time frame as THE MANDALORIAN, post RETURN OF THE JEDI, pre-THE FORCE AWAKENS.  It’s a coming-of-age story about four kids who make a discovery on their home planet that leads them to getting lost in the galaxy and the adventure to find their way back home.

ANDREW S. EISEN, ACE

Considering the cinematic approach that Andrew applies to THE MANDALORIAN, THE BOOK OF BOBA FETT and SKELETON CREW, it’s no surprise to see his name in the credits of big sci-fi / action films like TRANSFORMERS: AGE OF EXTINCTION and THE GUARDIANS OF THE GALAXY VOL 2.

TEREL GIBSON, ACE

Prior to joining the Star Wars universe for SKELETON CREW, Terel dropped by the MCU to cut HAWKEYE. He's also known for his feature work on movies such as CUCKOO (2024), SORRY TO BOTHER YOU (2018), READY OR NOT (2019) and THE FIGHTER (2010).

KAT NARANJO

Kat started her journey on Season 1 of STRANGER THINGS as an assistant, but over the following seasons started picking up full time editorial duties as well.  She also assisted editor Dean Zimmerman ACE on the features, THE ADAM PROJECT and FREE GUY.  Earlier in her career, Kat assisted on HALT AND CATCH FIRE and served as post coordinator on ONE TREE HILL.

The Credits

Visit ExtremeMusic for all your production audio needs Listen to Andrew talk about his work on THE MANDALORIAN Season One (Part One and Two) and Season Two, as well as THE BOOK OF BOBA FETT Hear Terel discuss cutting the Marvel series, HAWKEYE Check out Kat's interview for STRANGER THINGS Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Derek Holland

In the ever-evolving landscape of television, few series manage to capture the complexities of human emotions while maintaining an appealing balance between humor and gravity. "Bad Sisters," an Irish dramedy, is one such show. Its unique ability to engage audiences with its attention to detail and complex character narratives is a testament to the creative minds behind it. In this episode of The Rough Cut, editor Derek Holland delves into the creative process behind the show. He discusses the unique elements that made the first season a hit, such as the character of JP and the audience's unified hatred towards him. Derek shares insights about the talented team of writers, directors, and cast that brought the show to life. He also talks about the challenges of working remotely in Season One during COVID-19, and the evolution of his role from a latecomer in the first season to leading the editing team in Season Two. The discussion touches on the balancing act between comedy and drama, the intricate storytelling, and the importance of authenticity and cultural nuances in the series. Additionally, Derek highlights the pivotal moments and significant scenes that shape the narrative, offering a glimpse into the meticulous work that goes into creating a compelling TV show.

DEREK HOLLAND

Derek Holland is an Irish film/tv editor and a member of BAFTA, Irish Screen Editors and British Film Editors. His latest projects include Sharon Horgan's Bad Sisters Season 1 and 2 for Apple TV+, The Chemistry of Death for Paramount+ and Academy Award long-listed short film Room Taken, for director TJ O'Grady Peyton. Less recent work includes award winning feature films The Drummer and the Keeper and A Brixton Tale and the documentary A Fanatic Heart, which premiered at the Telluride Film Festival. Derek loves working with bold, collaborative people, both at home and abroad.

The Credits

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DISCLAIMER editor, Adam Gough ACE, BFE began his journey with director Alfonso Cuarón over eighteen years ago as an editorial trainee on Cuarón's CHILDREN OF MEN (2006).  In 2018, Adam would co-edit Cuarón's ROMA, alongside the writer/director. This long-standing collaboration has evolved over time, reflecting the trust and synergy they've built together, leading to Adam working as the sole editor on Cuaron's first TV series, DISCLAIMER.

For a project that would end up spanning two years, assembling a reliable and passionate editorial team was crucial to Gough. Aiming to bring on individuals who were eager to step up in their roles and commit to the project's duration, his team's unwavering dedication was pivotal in navigating the intense workload they would endure. From the onset, Adam was aware of DISCLAIMER's magnitude—boasting 670 script pages that were ultimately condensed into seven episodes. The complexity wasn't just in the volume but in its narrative structure as well.  Using color-coded scripts and scene cards, the editorial team was effectively able to navigate the shifting perspectives and multiple narrators that took place throughout the series.

The Credits

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The Chapters

00:00 The Journey Begins: From Trainee to Sole Editor

00:46 Diving into the Script: First Impressions and Challenges

02:35 Synopsis: What is Disclaimer About?

05:18 Editing Process: Building the Team and Workflow

08:03 Challenges and Lessons: The Marathon of Editing

15:37 Narrative Techniques: Voiceovers and Perspectives

20:42 Organizing the Complex Narratives

23:21 Stylistic Choices: Adapting to Different Timelines

25:26 Balancing Visual Techniques and Audience Perception

26:24 Easter Eggs and Rewatch Value

27:02 Character Development and Narrative Techniques

30:38 The Impact of Music and Sound Design

38:36 Visual Effects

40:41 Audience Reactions and Screening Insights

47:51 Final Thoughts and Future Plans

Editors - Anna Hauger ACE, Mark Hartzell ACE, Amelia Allwarden ACE, Sarah C. Reeves ACE

DUNE: PROPHECY editors Anna Hauger ACE, Mark Hartzell ACE, Amelia Allwarden ACE and Sarah C. Reeves ACE joined the new HBO Original Series having plenty of experience with big "IP" shows like WESTWORLD and LOST IN SPACE, but with the recent success of Denis Villeneueve's films, the expectations for their DUNE prequel series would be bigger than anything they've experienced before. DUNE: PROPHECY is a six-part series that just wrapped its first season on MAX and is a prequel to the Dune films.  Taking place 10,000 years prior to the Paul Atreides story line of the movies, it focuses on the origins of the Bene Gesserit, a powerful social, religious, and political force whose members possess superhuman powers and abilities after undergoing years of intense physical and mental conditioning.

ANNA HAUGER, ACE

Anna Hauger is known for Station Eleven (2021), Westworld (2016) and Watchmen (2019).

MARK HARTZELL, ACE

Mark Hartzell is known for The Last of Us (2023), Lost in Space (2018-21) and True Blood (2008).

AMELIA ALLWARDEN, ACE Amelia Allwarden is known for Westworld (2022), PEN15 (2021) and Little Fires Everywhere (2020). SARAH C. REEVES, ACE

Sarah C, Reeves is known for Westworld (2022), Invasion (2021), and Gotham (2018)

Editing Dune: Prophecy

In our discussion with DUNE: PROPHECY editors Amelia, Anna, Sarah and Mark, we talk about:

• Giving a "voice" to the sisterhood
• Keeping in ScriptSync
• The "agony" of building visuals
• Settling a score with Hans Zimmer
• Editorial resolutions

The Credits

Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer Watch editor Joe Walker ACE and composer Hans Zimmer discuss their Oscar-winning work on DUNE. See Joe Walker ACE show you the secrets of how he builds scenes from the "sand" up in DUNE: PART TWO. Listen to Amelia Allwarden talk about her work on PEN15 and LITTLE FIRES EVERYWHERE. Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Explore The Rough Cut on YouTube

Editor - Louise Ford, ACE

 

NOSFERATU editor Louise Ford, ACE and writer/director Robert Eggers have reunited once again to take on the not-so-simple task of remaking FW Murnau's horror classic.  Considering "Lou's" disdain for cover songs, it was important that this film could stand on its own merits and add something new to the world of cinema.  And although she has a few supernatural/horror films to her credit, "Lou" insists she doesn't seek them out.  She's just looking for great stories to tell.  With NOSFERATU, she told one. NOSFERATU - In the 1830s, estate agent Thomas Hutter travels to Transylvania for a fateful meeting with Count Orlok, a prospective client. In his absence, Hutter's new bride, Ellen, is left under the care of their friends, Friedrich and Anna Harding. Plagued by horrific visions and an increasing sense of dread, Ellen soon encounters an evil force that's far beyond her control.

Louise Ford, ACE

NOSFERATU is the fourth feature film Lou has edited for Robert Eggers since their first collaboration in 2008 on his short film, The Tell-Tale Heart . She edited Eggers’ The Witch , The Lighthouse , and The Northman . Other films she has edited include Don’t Breathe , Wildlife , and three films with the director Cory Finley - Thoroughbreds , Bad Education , and Landscape with Invisible Hand .

Editing NOSFERATU

In our discussion with NOSFERATU editor Louise Ford, ACE we talk about:

• Giving a gift to the Goths
• How most things are bad, especially cover songs
• Tapping into the footage during production
• Being a bastard in the cutting room
• Raiding the David Lynch Library

The Credits

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UNSTOPPABLE director Billy Goldenberg and editor Brett Reed have had a working relationship for over twenty years, going back to their time together on COYOTE UGLY (2000).  Since that film, they've logged a lot of hours as "editor and assistant" or "editor and additional editor", but their new film brings about a whole new dynamic, "director and editor". UNSTOPPABLE is the inspiring true story of Anthony Robles (Jharrel Jerome) who was born with one leg but whose indomitable spirit and unbreakable resolve empowered him to defy the odds and pursue his dreams. With the unwavering love and support of his devoted mother Judy (Jennifer Lopez) and the encouragement of his coaches, Anthony fights through adversity to earn a spot on the Arizona State Wrestling team. But it will demand everything he has, physically and mentally, to achieve his ultimate quest to become an NCAA Champion.

WILLIAM GOLDENBERG, ACE

While UNSTOPPABLE is Billy's first shot at directing, he is one of the most well-respected and sought-after film editors working today. He won an Academy Award, BAFTA Award, and the American Cinema Editors’ (ACE) Eddie Award for his outstanding work on the 2013 Best Picture winner, Argo, directed by Ben Affleck. His recent editing credits include Air, 22 July, Unbroken, and Concussion.

Goldenberg received dual Oscar nominations in 2013, also being nominated, along with editor Dylan Tichenor, for his work on Kathryn Bigelow’s Zero Dark Thirty.  In 2015, Billy was again nominated for an Oscar, a BAFTA Award, and an Eddie Award for the historical thriller The Imitation Game, starring Benedict Cumberbatch and Keira Knightley.  He was previously Oscar-nominated for his editing work on Seabiscuit, and on Michael Mann’s controversial film The Insider (with Paul Rubell and David Rosenbloom). Goldenberg was also part of the editing team on Mann’s Heat, Ali, and Miami Vice

BRETT M. REED

Prior to cutting UNSTOPPABLE for Billy, Brett also collaborated with Artists Equity on Doug Liman’s film THE INSTIGATORS, starring Matt Damon, Casey Affleck and Hong Chau. Additionally, he edited OLD, directed by M. Night Shyamalan for Universal Pictures, as well as several episodes of Shyamalan’s television show THE SERVANT for Apple TV+.  Previously Reed cut CLOUDS directed by Justin Baldoni for Disney+; Christoph Waltz’ GEORGETOWN; Automatik's DREAMLAND directed by Miles Joris-Peyrafitte and starring Margot Robbie; and Nick Hamm's bio-thriller DRIVEN, starring Erin Moriarty and Lee Pace. Brett's earlier work with Billy Goldenberg included supporting him as an Additional Editor on TRANSFORMERS: RISE OF THE BEASTS, LIVE BY NIGHT, CONCUSSION, UNBROKEN and ARGO. Reed was also a First Assistant Editor on THE AMAZING SPIDER-MAN 2, ZERO DARK THIRTY, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES, NATIONAL TREASURE, amongst others.

Directing and editing UNSTOPPABLE

In our discussion with Billy and Brett, we talk about:

• Editors as first-time directors
• Cutting for a director who's an Oscar-winning editor
• Seeing double on the wrestling mat
• Obsessing and finessing an L-cut
• Making the most of a montage

The Credits

Visit Extreme Music for all your production audio needs Listen to Billy talk about cutting AIR and NEWS OF THE WORLD Check out the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Andrew Buckland ACE and Scott Morris

A COMPLETE UNKNOWN editors Andrew Buckland, ACE and Scott Morris came into James Mangold's latest film being almost completely unknown to one another.  Aside from mutual acquaintances, the two had never worked together or even met prior to this film.  In spite of this, their combined talents tackled a big film that featured forty live performances and an aggressive post schedule. Co-written and directed by James Mangold, A COMPLETE UNKNOWN takes place in the early 1960s, when 19-year-old Bob Dylan arrives in New York with his guitar and revolutionary talent, destined to change the course of American music.  Forming his most intimate relationships during his rise to fame, he grows restless with the folk movement, making a controversial choice that reverberates worldwide.

ANDREW BUCKLAND, ACE

Andrew Buckland ACE is an Academy Award winning film editor who won the Oscar for his work on FORD v FERRARI alongside Michael McCusker ACE.  He received his B.F.A. in Film from Purchase College before transitioning into editing. Landing his first job on Alan Pakula’s THE DEVIL’S OWN, Andrew has been a part of the editorial teams on many high-profile films including Mike Nichol’s CLOSER and CHARLIE WILSON’S WAR.  Andrew subsequently directed two documentary films THE LONG WALL HOME and SOMOS WICHI, which won the 2012 Documentary Expose Award at The Peace On Earth Film Festival, Chicago USA.  Andrew began his collaboration with James Mangold on KNIGHT AND DAY and THE WOLVERINE, and later edited FORD v FERRARI, and INDIANA JONES AND THE DIAL OF DESTINY. Other credits include Co-Editing Tate Taylor’s THE GIRL ON THE TRAIN and Additional Editing GET ON UP.

SCOTT MORRIS

Scott Morris is a film editor with over 10 years' experience. He has collaborated with directors James Mangold, James Gray, Adam McKay and Gareth Edwards. In 2022 he was named one of Variety’s top 10 Artisans To Watch.  His last film, THE CREATOR was nominated for two Oscars. His previous collaborations with James Gray on ARMAGEDDON TIME and AD ASTRA were selected for competition in the Cannes and Venice film festivals respectively. Ad Astra went on to be nominated for an Oscar. He worked as an additional editor on Adam McKay’s film, DON'T LOOK UP. It was nominated for 4 Oscars, including Best Film Editing for Hank Corwin. Scott is a graduate of Emerson College and represented by CAA.

Editing A COMPLETE UNKNOWN

In our discussion with A COMPLETE UNKNOWN editors Andrew Buckland, ACE and Scott Morris, we talk about:

• The sounds of the city, the sounds of the sixties
• Nuance, nuance and more nuance
• Finding humanity in the cutting room
• Making the film "sing"
• Editors as voice extras

The Credits

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Listen to Andrew talk about his Oscar-winning work on FORD v FERRARI with Mike McCusker

Check out Scott Morris' podcast for THE CREATOR

Hear Andrew talk about what it was like cutting INDIANA JONES AND THE DIAL OF DESTINY

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Editors - Claire Simpson and Sam Restivo

GLADIATOR 2 editors Claire Simpson and Sam Restivo first teamed up when Sam worked as her assistant editor on the tv series RAISED BY WOLVES (2020).  From there, Claire brought Sam as her assistant to his first Ridley Scott feature, THE LAST DUEL (2021).  He would assist Claire one more time for Scott's HOUSE OF GUCCI (2021) before getting the promotion to co-editor for NAPOLEON (NAPOLEON). Released twenty-four years after the original GLADIATOR (2000) film, GLADITAOR 2 takes place sixteen years after young Lucius witnesses the death of Maximus at the hands of his uncle.  In the long-awaited sequel, Lucius must enter the Colosseum after the powerful emperors of Rome conquer his home. With rage in his heart and the future of the empire at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people.

CLAIRE SIMPSON

Claire first worked for Ridley Scott on his 1987 film SOMEONE TO WATCH OVER ME.  Even though that was only her fifth film credit, she was already an Oscar-winning editor having won the big prize for cutting PLATOON (1986) the year prior.  She also cut director Oliver Stone’s film SALVADOR (1986) during that time.  Claire would go on to do other films with both Oliver Stone and obviously Ridley Scott, and she would also receive an Oscar nomination for her work on the 2006 film, THE CONSTANT GARDENER.

SAM RESTIVO

Aside from his work with Claire Simpson and Ridley Scott, Sam has worked as an assistant editor on TV series like THE WALKING DEAD (2014) and BETTER CALL SAUL (2015) as well as being an additional editor for features such as THE GREATEST SHOWMAN (2017) and ROBIN HOOD (2018).

Editing GLADIATOR 2

In our discussion with GLADIATOR 2 editors Claire Simpson and Sam Restivo, we talk about:

• Alternating big and small projects with Ridley Scott
• Working with baboons in suits
• How Ridley edits with a brick
• The built-in logic of action editing
• If all else fails, get a reaction from the royal box

The Credits

Visit ExtremeMusic for all your production audio needs Learn all about what's new with Avid Media Composer Hear Sam talk about cutting NAPOLEON Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Myron Kerstein ACE

WICKED: PART ONE editor, Myron Kerstein ACE finds himself in the familiar positions of both cutting a musical and also collaborating with director Jon M. Chu.  This is Myron's third musical in a row, following Lin-Manuel Miranda's tick, tick Boom! (2021) and Chu's IN THE HEIGHTS (2021).  Prior to IN THE HEIGHTS, Myron first cut for Chu on his film, CRAZY RICH ASIANS (2018).

Adapted from the venerable Broadway smash, WICKED: PART ONE follows the journey of a young woman named Elphaba. Misunderstood and often outcast because of her green skin, Elphaba forges an unlikely but profound friendship with Glinda, a fellow student with an unflinching desire for popularity. Following an encounter with the Wizard of Oz, their relationship soon reaches a crossroad as their lives begin to take very different paths.

MYRON KERSTEIN, ACE

In addition to his musical experience with Jon M. Chu and Lin-Manuel Miranda, Myron also had a diverse pool of film and tv projects, including GARDEN STATE (2004), NICK AND NORAH’S INFINITE PLAYLIST (2008), LITTLE FOCKERS (2010), THE DUKES OF HAZARD (2005), FAME (2009), GIRLS (2015-17) and HOME BEFORE DARK (2020).

Editing WICKED: PART ONE

In our discussion with WICKED: PART ONE editor, Myron Kerstein ACE we talk about:

• Turning one big musical into two big movies
• Putting a sequel to sleep
• Managing a mass of musical media
• Selling an editing style to the director
• Spacing and pacing musical numbers

The Credits

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Listen to the Myron's interviews for tick, tick...Boom! and In the Heights

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Editor -Juliette Welfling

EMILIA PÉREZ editor Juliette Welfling took on the job of editing her first musical without knowing the rigor and precision that would be required for the job.  For better or worse, neither did writer/director Jacques Audiard, himself new to the world of making a musical.  It turns out, experience might be overrated, as the Netflix Oscar-hopeful has won over critics since its premiere at the 2024 Cannes Film Festival.

Written and directed by Jacques Audiard, EMILIA PÉREZ is based on Audiard's opera libretto of the same name.  Audiard's opera was loosely adapted from Boris Razon's 2018 novel, Écoute.  The film stars Zoe Saldaña, Selena Gomez, Adriana Paz and Karla Sofía Gascón in the title role.  EMILIA PÉREZ tells the story of a feared cartel leader who enlists a lawyer to help her disappear and achieve her dream of transitioning into a woman. Its original songs were contributed by French singer Camille, while its original score was provided by her partner and collaborator, Clément Ducol.

Juliette Welfling

Juliette Welfling began her career at age eighteen as an intern on Jean-Charles Tachella’s Cousin cousine. She later befriended Jacques Audiard while both were working as assistant editors, and she earned her first editor credit on his directorial debut See How They Fall. Welfling has received César nominations for each of Audiard’s eight films, winning four times: for See How They Fall, The Beat That My Heart Skipped, A Prophet, and Rust and Bone. She received an additional César nomination for Asghar Farhadi’s The Past, as well as a César win and Oscar nomination for Julian Schnabel’s The Diving Bell and the Butterfly. Welfling has also collaborated with other directors including Michel Gondry (The Science of Sleep) and Gary Ross (The Hunger Games, Ocean’s Eight).

Editing EMILIA PÉREZ

In our discussion with EMILIA PÉREZ editor Juliette Welfling, we talk about:

• Knowing the rules, when you don't want to know them, so you can apply them without knowing
• Not being a prisoner of precision
• Managing the menace within
• Fixing problems within the cutting room by finding inspiration outside of it
• Respect for fromage

The Credits

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Editor - Robert Nassau

A REAL PAIN editor Robert Nassau might be Brooklyn's secret cinematic weapon when it comes to finding an editor who knows how to cut not-too-dark dramedies.   And the seems to be what writer/director/actor Jesse Eisenberg was looking for when it came time to turn over the cutting room keys to his latest project.  Premiering to much fanfare at Sundance 2024, A Real Pain is now delighting critics and audiences alike in its theatrical run.

A REAL PAIN follows mismatched cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) as they reunite for a tour through Poland to honor their beloved grandmother. The adventure takes a turn when the odd-couple's old tensions resurface against the backdrop of their family history.

Robert Nassau

Robert Nassau edited the films The Big Sick (directed by Michael Showalter), A Futile and Stupid Gesture (David Wain), Hello, My Name is Doris (Showalter), Juliet, Naked (Jesse Peretz), The Lovebirds (Showalter), Shortcomings (Randall Park), Somewhere in Queens (Ray Romano) and Wanderlust (Wain). Television series include “Children’s Hospital” (Adult Swim), “Dash and Lily”(Netflix),“The Last O.G.”(Comedy Central),“The Other Two”(Max), and“Wet Hot American Summer” (Netflix). For two summers in high school, he worked at the National Zoo. He is a graduate of the Rhode Island School of Design.

Editing A REAL PAIN

In our discussion with A REAL PAIN editor Robert Nassau, we talk about:

• Chopin up the score
• Not coming to a resolution with music
• Following the St. Crispin's Day rule for monologues
• Finding the line between annoying and outgoing
• Sometimes all a scene really needs is a cricket

The Credits

Visit ExtremeMusic for all your production audio needs

Check out what's new with Avid Media Composer

Subscribe to The Rough Cut podcast and never miss an episode

Visit The Rough Cut on YouTube