Today on Art of the Cut we’re speaking with editor Elísabet Ronaldsdóttir, ACE, and first assistant editor, Matt Absher about editing Nobody 2.

Elisabet has been on Art of the Cut before for Atomic Blonde, Shang Chi and the Legend of the 10 Rings, Bullet Train, and The Fall Guy. Elisabet has also edited Love Hurts, Kate, Deadpool 2, and John Wick.

Matt was on Art of the Cut with Elisabet for The Fall Guy. He was first assistant editor with Elisabet on all the aforementioned productions and has also been a first assistant editor on Us and Nope.

This week’s episode features an in-depth discussion of how to cut two movies at the same time, how the assistant director is the captain of the ship, and why Elisabet got a co-producer credit.

If you want to read along with this interview with clips, trailers and photos, go to the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Joe Murphy about editing the new Zach Cregger movie, Weapons.

We last spoke to Joe and director Zach Cregger about their last collaboration, Barbarian. Joe’s other editing work includes features like Swallow, Don’t Come Back from the Moon and Beach Rats. His TV episodic work includes A Friend of the Family.

This week’s episode features an in-depth discussion of how to maximize a jump scare, the benefits of working with the director on multiple projects, and the value of NOT temp scoring the movie.

If you want to read along with the podcast, you can do it at the BorisFX blog!

borisfx.com/blog/aotc

Today on Art of the Cut I’m speaking with Emmy-nominated editor, Susan Vaill, ACE, who’s joined by her assistant editor, Stephanie Goldstein to discuss editing the HBO series, Hacks.  

Susan edited 70 episodes of Grey’s Anatomy and also directed three episodes. She won an ACE Eddie for editing Hacks, and this is her second Emmy nomination for the show. She’s also edited Abbott Elementary, The Time Traveler’s Wife, Space Force, and This is Us.

Stephanie has been an assistant editor on Gotham, Brooklyn 9-9, and Single Parents. She was bumped up to the editor’s chair on that show for 2 episodes.

On this episode, we talk about how an editor transitions to directing, understanding the process of notes and revisions, and - since this episode of Hacks is nominatead for an EMmy, how do you judge editing?

Today on Art of the Cut, Eric Kissack, ACE is here to discuss his Emmy-nominated editing on Seth Rogen’s TV series, The Studio.

In addition to his Emmy nod for The Studio, Eric’s been nominated for three ACE Eddies and an Emmy for The Good Place, and an Emmy for Veep, among lots of other films and TV series.

In this episode, Eric discusses the difficulties of editing a show that’s supposed to basically look like a oner for every scene, the fear of not being the funniest guy in the cutting room, and being on-set to essentially edit LIVE.

You can read along with this podcast and see great exclusive images, trailers and more at borisfx.com/blog/aotc.

Today on Art of the Cut, we’re in conversation with the Emmy-nominated editors of The Penguin. They are (in order of their nominated episodes) Henk van Eeghen, ACE, Meg Reticker, and Andy Keir.

Henk has been on Art of the Cut before for The Morning Show. Henk has won two Emmys and an ACE Eddie. His other past work includes the TV series Lost, Watchmen, and Fargo.

Meg has been nominated for five Emmy Awards and won an ACE Eddie - and was nominated for another, mostly for her work on 30 Rock. Her other work includes Tulsa King, Perry Mason, and American Rust.

Andy was nominated for ACE Eddies for two shows in 2009, winning for True Blood. His other work includes the TV series, Your Friends & Neighbors and Warrior, and the feature, Roger Dodger.

In this episode, discover the way perspective changes the edit, how to organize to allow deep notes from the showrunner, and keys to regulating tone with a minimum of music.

If you want to read along with this interview and see trailers clips and exclusive images, visit the BorisFX blog site at:

borisfx.com/blog/aotc

Today on Art of the Cut we’re discussing Superman with editors William Hoy, ACE and Craig Alpert, ACE. We’re also joined by embedded Avid sound mixer Ian Chase.

William’s been on Art of the Cut before for War for The Planet Of The Apes, The Batman, and The Call of the Wild. His other credits include Dawn of the Planet of the Apes, I, Robot, 300, Dances with Wolves, and the just-released Fantastic Four movie.

Craig has also been on Art of the Cut before for Borat Subsequent Moviefilm and Deadpool 2. He was nominated for an ACE Eddie for both of those films. He also edited Popstar: Never Stop Never Stopping, and Pineapple Express.

Ian Chase has been on the sound teams of Everything, Everywhere, All at Once, The Fantastic Four, Avatar: Fire and Ash, and Guardians of the Galaxy: Volume 3. He was nominated for a Golden Reel Award for She Hulk.

In this episode, Discover why the post-credit scene used to be IN the movie, how an “embedded sound person” helped deliver more than just sound, and why audiences needed a certain pace to discover a “new” Superman.

You can read along with this podcast on the BorisFX blog to see trailers, timeline screenshots and exclusive images. Visit:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Wyatt Smith, ACE about editing Universal’s live action version of How To Train Your Dragon.

Wyatt’s been on Art of the Cut before for Mary Poppins Returns. He was also on to discuss Doctor Strange. Wyatt’s other work includes editing the live action version of The Little Mermaid, Into the Woods, - for which he was nominated for an ACE Eddie - Harriet, and Pirates of the Carribean: On Stranger Tides. And he was nominated for an Emmy for Tony Bennett: An American Classic.

Discover the creative discussions about how closely a live-action remake should match its animated predecessor, taking montage inspiration from Alan Heim’s “All That Jazz,” and why lengthen some scenes and shorten others compared to the original film.

You can read along with this interview on the Boris FX blog. You'll find clips, trailers, timeline screenshots and exclusive images.

borisfx.com/blog/aotc.

Today on Art of the Cut we speak with Jabez Olssen, the Emmy-winning editor of Jurassic World Rebirth. 

Jabez has been on Art of the Cut before to talk about Star Wars Rogue One - which was also directed by Jurassic World Rebirth’s Gareth Edwards - and for Peter Jackson’s documentary The Beatles: Get Back for which Jabez won an Emmy and an ACE Eddie. He was also nominated for a BAFTA for The Lord of the Rings: The Two Towers. His other work includes editing the three Hobbit movies, The Adventures of TinTin, and The Lovely Bones.

Our discussion is about how pacing changes and evolves through VFX deliveries, getting notes from Steven Spielberg, and leaving room to appreciate the wonder of an amazing world and so much more.

If you'd like to read along with this podcast and see clips, trailers and timeline screenshots, please visit BorisFX's blog site for Art of the Cut.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-winning editor, Stephen Mirrione, ACE about editing the summer blockbuster, F1.

Stephen’s been on Art of the Cut before when he edited The Revenant, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie. He was nominated for a BAFTA and an ACE Eddie for Birdman. He was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel. In 2006 he won the Cannes Film Festival technical Grand Prize for editing. And he won the Oscar and was nominated for a BAFTA and an ACE Eddie for editing Traffic. Not to mention - though I guess I AM mentioning - editing The Monuments Men, August: Osage County,  Hunger Games, and Oceans 11, 12 AND 13.

This episode includes discussions of how editing pace is contextual, the value of editors speaking into the script, and how in the HELL do you cope with a 2000:1 shooting ratio!?  Director Joseph Kosinski’s previous blockbuster, “Top Gun Maverick” was 800 hours of film for about a 200:1 ratio. And Apocalypse Now was notably insane at just 95:1.

And if you want to read along with this podcast and also see exclusive images, timeline screenshots - with explanations of each track, and trailers and clips, please check out the BorisFX blog:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with BAFTA, Emmy and ACE Eddie-winning editor, Michael Harte, ACE about the SXSW Audience Award-winning documentary, Deaf President Now, currently streaming on Apple TV+.

Michael’s been on Art of the Cut before for his ACE Eddie-winning show Beckham. He won an ACE Eddie and was nominated for a BAFTA for Still: A Michael J. Fox Movie. He won a Grierson Award and was nominated for an Emmy and an ACE Eddie for Three Identical Strangers. 

This episode includes the answers to some interesting questions: When does real sound design need to be done during picture cut? When archival and interviews are equally strong, how do you choose? And when - and how - does it make sense to take the POV of your deaf protagonists?

You can read along with this podcast and see trailers, clips and images on the BorisFX blog:

borisfx.com/blog/aotc