Today on Art of the Cut, it’s my pleasure to speak with ACE Eddie-winning and Emmy-winning editor, Taylor Mason, ACE, about the film Him. 

Taylor has been on Art of the Cut before for the feature film, Birth/Rebirth. She has also edited A Black Lady Sketch Show, Dahmer: Monster - The Jeffrey Dahmer Story, and Pose. She’s also been an assistant editor on Bladerunner 2049, Dune, and DC League of Super-Pets.

Today’s discussion is about leaning into the film’s themes for inspiration, and how Taylor used her own sports background and her father’s Super Bowl-winning career to lend authenticity to critical scenes.

You can read along with this podcast on the blog site which includes exclusive photos, clips and trailers.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Bob Joyce about editing “Spinal Tap II: The End Continues.”

Bob’s been nominated for a Emmy and an ACE Eddie for editing “Albert Brooks: Defending My Life.” Among other films his other work includes two other Rob Reiner features, Shock and Awe, and LBJ. 

Today’s discussion is about the collaboration process with director Rob Reiner, using a synced recording of an audience screening to refine comic pacing, and why fantastic comic moments get deleted.

If you'd like to read along with this interview and see clips, trailers, timeline screenshots and exclusive photos, visit the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-nominated editor, Andrew Weisblum, ACE, about cutting Darren Aronofsky’s film, Caught Stealing.

Andrew’s been on Art of the Cut before to discuss The French Dispatch, Alice Through the Looking Glass, and tick, tick, BOOM! - for which he was nominated for an Oscar and won an ACE Eddie. He was also nominated for an Oscar for editing Black Swan. His other work includes Wolfs, The Whale, Mother, and Isle of Dogs.

Today’s discussion is about the value of editing on-set, the benefits of having the editor speak into the script, and the dangers of reading the source material.

If you'd like to read along with this podcast and see clips, trailers and stills from the movie, visit the Boris FX blog site:

Borisfx.com/blog/aotc

Today on Art of the Cut we speak with editor Matt Villa, ACE about working with Ron Howard on his new film, Eden.

Matt’s been on Art of the Cut before for his editing of Elvis, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie . His other films include The Great Gatsby, Peter Rabbit 2, and The Lego Batman Movie for which he was nominated for an ACE Eddie.

Today’s discussion is about compressing a 3:40 editors cut down to size, finding subtext in performance, and so much more.

If you'd like to read along with this podcast, visit the BorisFX blog at: borisfx.com/blog/aotc

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