Today on Art of the Cut we speak with multi-Emmy nominated editor Tricia Reidy, ACE about editing Ken Burns’ documentary series, The American Revolution.

Tricia has edited for Ken Burns and Florentine Films since college starting with the documentary series The Civil War which she edited with Paul Barnes and Bruce Shaw. Also, Frank Lloyd Wright (Emmy nomination for editing), and The War, (also nominated for an Emmy). Others include Vietnam, The Roosevelts, and Muhammad Ali.

The American Revolution was also edited by Maya Mumma, ACE and Craig Mellish, ACE. Maya and Craig were not included in this interview, but have both been featured on Art of the Cut in the past.

This interview discusses how the show’s theme shaped the structure, the role of subtext in the opening shot, and the impact of the many celebrity voice over actors on the film’s pacing and even it’s music.

If you'd like to read along with this podcast, check out the BorisFX.com blog to get the transcript of the interview along with exclusive photos, clips, trailers, and a timeline screenshot. Visit:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-nominated editor Tom Eagles, ACE, about editing the film Nuremberg.

Tom was on Art of the Cut previously to talk about The Harder They Fall. Before that I spoke to Tom about his BAFTA and Oscar-nominated film - and WINNER of the 2020 ACE Eddie for Best Edited Feature film, JoJo Rabbit.

Tom has also edited films like Hunt for the Wilderpeople and TV series like What We Do in the Shadows,  Ash versus the Evil Dead and Spartacus: Blood and Sand.

This interview discusses choosing performances to hide story revelations, the importance of POV, and using less intercutting to actually break an un-desired connection between characters.

You can read along with this interview and see exclusive photos and timeline screenshots on the BorisFX blog site:

borisfx.com/blog/aotc

Today we’re speaking with Oscar-nominated Australian-born editor, Paul Machliss, ACE. We’ll be talking about his latest collaboration with director Edgar Wright, “The Running Man.”

Paul last chatted on Art of the Cut when he cut Wright’s “Last Night in Soho,” and before that for “Baby Driver” for which he won a BAFTA, and was nominated for an ACE Eddie and an Oscar. 

Paul was also nominated for an ACE Eddie for his work on “Scott Pilgrim versus the World.” He’s edited TV, including “Fleabag.” And dozens of musical specials, documentaries and concerts for the likes of Led Zeppelin and Diana Krall.

This interview discusses how Paul’s early career as an on-line editor helped him on this film, the value of editing on-set, and the technology that kept the whole post machine whirring.

If you want to read along with this interview, you can check it out on BorisFX.com's blog site:

borisfx.com/blog/aotc

Today on Art of the Cut, we speak with multi-Oscar-nominated editor, Myron Kerstein, ACE, about editing Jon Chu’s Wicked for Good.

Chu and Kerstein last worked together - of course - on Wicked. And before that on tick, tick… BOOM. Before THAT they collaborated on In the Heights. And before THAT on Crazy Rich Asians - and we’ve talked about ALL of those films here on Art of the Cut.

Kerstein’s previous work as an editor includes the feature films Going in Style, Garden State and Glee: The 3D Concert Movie. He’s also expanded his talents to the director’s chair, but that’s a topic for another interview.

This interview discusses the value of story cards on a wall, the complexities of editing vocals recorded live during filming, and the implications of this film’s darker tone and operatic power.

If you'd like to read along with this inteview and see exclusive photos, check out the BorisFX blog site:

borisfx.com/blog/aotc

Today, we’re talking to Evan Schiff, ACE about editing Guillermo del Toro’s Frankenstein which is available now on Netflix.

Evan’s feature editing career includes Nobody, Southside With You, John Wick Chapter 2 AND Chapter 3, and Birds of Prey, among others.

Today: A discussion of the importance of editing speed while collaborating, the advantage of having the time for many screenings, and how being a “sound-aware editor” can shape the story.

If you'd like to read along with this interview and see exclusive photos and a timeline screenshot, visit the BorisFX.com blog site at:

borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with Yorgos Mavropsaridis, ACE, the editor of Yorgos Lanthimos’ latest film, Bugonia.

Yorgos has been on Art of the Cut before for Poor Things and for The Favourite for which he was nominated for an Oscar and a BAFTA, and won an ACE Eddie. He was also an ACE Eddie nominee for The Lobster. In addition he edited The Killing of a Sacred Deer among over 100 other international film credits. 

Today’s discussion is about a 30 year career collaborating with the same director, understanding the philosophical aspects of editing, and how to collaborate with the film’s … audience.

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

borisfx.com/blog/aotc

Today on Art of the Cut we talk with multi-Oscar winning editor Kirk Baxter, ACE about editing Oscar-winning director, Kathryn Bigelow’s film, A House of Dynamite, now playing on Netflix.

Kirk’s been on Art of the Cut before to discuss Gone Girl, Mank, and The Killer and the TV series, Mindhunter. His other films include The Girl with the Dragon Tattoo, Social Network, The Curious Case of Benjamin Button, and Zodiac.

Today’s discussion is about the traits of a good editor, the advantages of cutting a movie linearly, and the sensitive nature of the editing room.

You can read along with this podcast and see clips and exclusive photos and timeline screenshots at BorisFX's blog site: borisfx.com/blog/aotc

Today on Art of the Cut we talk with Tyler Nelson, ACE, about editing Tron Ares.

Tyler’s been on Art of the Cut before numerous times including for his editing of The Batman, Creed III, and Mindhunter. He’s also been an editor on Love, Death and Robots and Shadow and Bone.

Today’s discussion includes a discussion of the use of previs, building rip-o-matics with Shot Deck, and juggling the power of a score by Nine Inch Nails with incredible sound design.

If you want to read along with this podcast you can visit BorisFX's blog site to see timeline screenshots, exclusive photos and more.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-nominated editor Barry Alexander Brown, ACE about editing Spike Lee’s latest film, Highest 2 Lowest.

Barry’s been on Art of the Cut before to discuss editing BlacKkKlansman, for which he was nominated for an Oscar and an ACE Eddie. 

He was also nominated for an Oscar for The War at Home, a documentary he co-directed. His other films with Spike include sound design on She’s Gotta Have It, and editing on School Daze, Do the Right Thing, Malcolm X, Crooklyn, He Got Game, and Summer of Sam, among others. Barry’s also directed several feature films including The Who's Tommy:, the Amazing Journey, and Lonely in America.

If you want to, you can read along with this podcast on BorisFX's blog site.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Brian Kates, ACE, about editing Bill Condon’s Kiss of the Spider Woman.

Brian’s work includes feature films like The Savages, Killing Them Softly, and Shortbus. Also documentaries like All the Beauty and the Bloodshed for which he was nominated for an ACE Eddie, and TV series like Succession, The Marvelous Mrs. Maisel, for which he won an Emmy, and Treme. In addition to his numerous nominations he has won two Emmys and two ACE Eddies.

Today’s discussion covers the tonal shifts between Technicolor music fantasy and imprisoned reality, managing to maintain a diverse filmography, and the joys and challenges of editing a musical.

You can read along with this interview at BorisFX's blog site.

borisfx.com/blog/aotc