The Rough Cut

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 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).

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

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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 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.

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

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Editor Otto Burnham took on the job for SUPER/MAN: THE CHRISTOPHER REEVE STORY knowing that he wouldn't be lacking for source material on his subject.  Rather, the challenge would lie in processing the countless hours of material from Reeve's work and his life to find the real superhero within.

Directed by Ian Bonhôte and Peter Ettedgui, who co-wrote the script with Otto, SUPER/MAN: THE CHRISTOPHER REEVE STORY is an intimate view into the life of actor Christopher Reeve.  The film chronicles his rise to stardom upon landing the role of Superman in the 1970's, as well as the dramatic turn his life takes when a horse-riding accident leaves him paralyzed in 1995.  Through home movies and interviews with those closest to Reeve, the audience is shown a side of this super man they've never seen before.

In his own words, award-winning (ACE Eddie, Emmy® and RTS) editor Otto Burnham describes himself as, "comfortable with the story telling and creative demands of broadcast TV, feature documentary, commercials and music videos. I love collaborating on films which focus on dramatic, emotional stories or difficult, challenging topics.  With every project, I bring a high level of speed, skill and enthusiasm to my work.  I have also shot and directed my own work and cut an award-winning feature documentary in my spare time".

In our discussion with SUPER/MAN: THE CHRISTOPHER REEVE STORY, Otto Burnham we talk about:

• Climbing the greasy rungs of postproduction
• The McQueen's Gambit
• One Avid, two timelines
• Avoiding the radio play approach
• The storytelling superpower of ScriptSync

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JOKER: FOLIE À DEUX editor, Jeff Groth ACE had a tough act of his own to follow, coming off of his ACE Eddie and Oscar nominated work on Todd Phillips' JOKER (2019), but follow it he did.

Directed by Todd Phillips from a screenplay he co-wrote with Scott Silver, the sequel follows failed comedian Arthur Fleck as he struggles with his dual identity.  While incarcerated at Arkham State Hospital as he awaits his trial, Arthur meets the love of his life, Harley Quinn.

Having worked previously with Phillips on such films as THE HANGOVER III (2013) and WAR DOGS(2016), with JOKER Jeff not only started making a name for himself as an editor to be recognized, but also proved his mettle as a filmmaker who could deftly craft stories about complex characters and their descent into desperation; a skill that came in quite handy on the dark and delicate aspects of the Russo Brothers' CHERRY (2021) and JOKER: FOLIE À DEUX.

In our discussion with JOKER: FOLIE À DEUX editor, Jeff Groth ACE we talk about:

• The benefit of having a fireplace in the cutting room
• Color bleed, film grain and the sounds of the 70's
• On-set piano accompaniment
• The super rats of Gotham
• Singing in a scene vs a musical number

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Listen to the original Joker podcast with editor, Jeff Groth ACE

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CHALLENGERS editor Marco Costa knew one thing going into Luca Guadagnino's recent tennis movie, and that's that Luca didn't know anything about tennis.  Luca would explain to Marco that this film isn't about tennis.  The incredibly kinetic action in the tennis sequences that Marco cut say otherwise.

CHALLNEGERS stars ZENDAYA as Tashi Duncan, a former tennis prodigy turned coach and a force of nature who makes no apologies for her game on and off the court. Tashi is married to Art, a champion on a losing streak. Tashi’s strategy for her husband’s redemption takes a surprising turn when he must face off against the washed-up Patrick— Art’s former best friend and Tashi’s former boyfriend. As their pasts and presents collide, and tensions run high, Tashi must ask herself, what will it cost to win?

Editor Marco Costa first joined the cinematic world of Luca Guadagnino as a second assistant under editor Walter Fasano on Luca’s film, SUSPIRIA (2018).  Marco would go on to be the lead editor on Luca’s film BONES AND ALL (2022), as well as his tv series, WE ARE WHO WE ARE (2020).  Following CHALLENGERS, Luca and Marco have since worked together on QUEER (2024) and are currently working on the film AFTER THE HUNT.

In our discussion with CHALLENGERS editor, Marco Costa we talk about:

• Putting T&A into the movie
• Super modernistic editing
• Frank Llloyd Wright filmmaking
• Bringing your geometry homework to the cutting room
• How to get 'em dancing in the aisles

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SATURDAY NIGHT editors Nathan Orloff and Shane Reid team up for the second time in 2024 with their latest Jason Reitman / Gil Keenan project about NBC's long-running sketch comedy show.  Having previously cut GHOSTBUSTERS: FROZEN EMPIRE together, the pair developed a strong working relationship that certainly came in handy when Shane had to do double duty between this project and DEADPOOL & WOLVERINE (2024).

SATURDAY NIGHT is a frenetic dramatization of what happened behind the scenes during the ninety minutes leading up to the first broadcast of NBC's Saturday Night on October 11th, 1975, when a dynamic young producer named Lorne Michaels lead a ferocious troupe of young comedians and writers in changing television forever.

Nathan Orloff is known for his editing on TULLY (2018), PLAN B (2021), GHOSTBUSTERS: AFTERLIFE (2021), JOHN WICK: CHAPTER 4 (2023) and GHOSTBUSTERS: FROZEN EMPIRE (2024).

As a partner of the award-winning post house Exile Edit, Shane has been nominated for, and won, multiple awards for his work in the commercial space with top brands including Apple, Adidas, BMW, Hennessy, Audi and the Olympics.  He quickly became one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat & Chloe Zhao. He has also cut multiple music videos for Taylor Swift, Paul McCartney, Florence + The Machine and Kamasi Washington.

In 2018, Reid edited on the film A Hidden Life for director Terrence Malick.  He recently cut the short film I’m on Fire for director Michael Spiccia which premiered at the 2022 Toronto and Clermont-Ferrand International Festivals.  Shane recently co-edited DEADPOOL & WOLVERINE alongside editor Dean Zimmerman, ACE.

In our discussion with SATURDAY NIGHT editors, Nathan Orloff and Shane Reid, we talk about:

• Kicking things off with a quote
• Adding oner + oner + oner + oner
• On-set scoring with Jon Batiste
• Making something of Nothing From Nothing
• SNL trivia

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Check out Nathan and Shane's interview for Ghostbusters: Frozen Empire

Watch Nathan Orloff's guided tour of his John Wick: Chapter 4 Media Composer timelines

Hear Nathan Orloff discuss cutting Ghostbusters: Afterlife and John Wick: Chapter 4

Listen to Shane Reid talk about editing Deadpool & Wolverine with Dean Zimmerman, ACE

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MEGALOPOLIS editor Cam McLauchlin had no idea what was waiting for him on the other side when he knocked on Francis Ford Coppola's door.  Now that Coppola's decades-in-the-making passion project has become a "surreality", McLauchlin still can't quite explain everything that took place in the making of this film.  One thing is clear to Cam however, this was Francis's vision and Francis IS "Cesar Catalina".

MEGALOPOLIS takes place in a somewhat alternate universe, where New York City is New Rome, and stars Adam Driver as Caesar Catalina, a brilliant artist, who somehow has the ability to stop time and has developed a magical substance called MEGALON that can be used to build a utopian city of the future.  Caesar is at odds with the greedy mayor of New Rome, Franklyn Cicero. Between them is his daughter Julia Cicero, her loyalty divided between her father and her beloved.

As a film & television editor based out of Toronto and Los Angeles, Cam's career began in Toronto working as an assistant editor for Guillermo Del Toro on PACIFIC RIM, THE STRAIN, CRIMSON PEAK and eventually as an associate editor on SHAPE OF WATER.  Cam also edited the horror cult classic, THE VOID with alumni from Canadian film production and directing company, Astron-6.  Other selected work includes; Max Minghella's feature debut musical, TEEN SPIRIT and Dogme 95 member, Lone Schefrig's KINDNESS OF STRANGERS.  Cam is currently doing an extended cut on NIGHTMARE ALLEY with director Guillermo Del Toro.

In our discussion with MEGALOPOLIS editor, Cam McLauchlin we talk about:

• Going on a job interview with Francis Ford Coppola
• Digging through twenty years of footage
• When the director asks, "You want to hear a crazy idea"?
• The future of interactive cinema
• Working where you live and living where you work

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Although INDUSTRY editor Kyle Traynor joined the series already in progress in its sophomore season, by season three he would be given the cutting room keys to half of the season's episodes, including both the series premiere and its finale.

Created by Mickey Down and Konrad Kay, INDUSTRY follows a group of young graduates competing for a limited number of available full-time employment opportunities at Pierpoint, a top investment bank in London.  The graduates include Harper Stern, a Black upstate New York native who uproots her life in pursuit of success despite having lied about the university she attended, Robert Spearing, a white working-class Oxford graduate who is eager to please and Yasmin Kara-Hanani, a privileged, well-connected child of Lebanese parents.

Kyle is a Los Angeles based editor with work ranging from motion pictures to television, commercials, web and VR. He got his start working with director David Fincher and moved his way up to editor for the acclaimed series House of Cards. Since then he has worked on additional projects for Netflix along with series for HBO, Amazon, Disney, LucasFilm as well as commercials for brands such as Nike, Porsche, Land Rover and Meta. Kyle has worked on several independent projects that have premiered at Sundance, Tribeca, SXSW, and Toronto International. 

In our discussion with INDUSTRY editor Kyle Traynor, we talk about:

• Keeping the cutting room close to the trading floor
• The edutainment of delivering drama vs explaining economics
• Getting control over kinetic camera work
• Opening up hidden gems in closed captions
• Loving those 80's needle drops

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REZ BALL editor, Jessica Baclesse says she got the job for the film through a chance encounter with a not-so-stranger across a crowded room.  Random or not, Jess already had plenty of editing experience under her belt, including time logged cutting a big sports movie with Michael B. Jordan's directorial debut, CREED III (2023).

REZ BALL was directed by Sydney Freeland and co-written by Freeland and Sterlin Harjo (RESERVATION DOGS).  It tells the story of the Chuska Warriors, a Native American high school basketball team from New Mexico who, after losing their star player, must band together to keep their quest for a state championship alive.

Jessica Baclesse is an award-winning film editor working in features, television and commercials. In addition to editing Creed III with Tyler Nelson, she was an additional editor on Marvel's 2021 television series Loki, directed by Kate Herron, and a pre-production editor on The Falcon and the Winter Soldier.

Baclesse's work on Nike's 2020 You Can't Stop Us received an Emmy for Outstanding Commercial, a Cannes Grand Prix Lion and an AICP Award for Best Editing Montage.  Jess has also edited global commercial campaigns, including Instagram's Get Into What You Love, which was nominated for a Webby Award for Best Use of Video or Moving Image in Advertising.

Baclesse received her MFA in Film from Columbia University and has edited many critically renowned narrative shorts that have been featured at festivals such as Slamdance, LA Film Festival, and Palm Springs International Film Festival.

In our discussion with REZ BALL editor Jessica Baclesse, we talk about:

• The importance of understanding geographical isolation
• Following the "How to..." from Hoosiers
• Letting the kids lead you to the story
• LeBron James, technical advisor
• Going to "sheep camp"

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Roger Nygard's The Documentarian is the ultimate go-to source for making and selling documentaries, answering every question and containing crucial strategies every filmmaker needs to know to succeed as a documentarian. Included are insights from experts and award-winning documentary filmmakers such as Davis Guggenheim (An Inconvenient Truth), Liz Garbus (Ghosts of Abu Ghraib), Rachel Grady (Jesus Camp), Freida Lee Mock (Maya Lin: A Strong Clear Vision), Errol Morris (The Fog of War), Sam Pollard (4 Little Girls), Michael Tollin (The Last Dance), Frederick Wiseman (Titicut Follies), Marina Zenovich (Robin Williams: Come Inside My Mind).

The book includes a case study profiling the making and selling of the documentary Trekkies; what it took to push it to a record-setting sale to a major studio, with a huge payout to the filmmakers. This book is inspirational and leaves people—after reading a chapter or finishing the book—feeling more inspired to go forth with their own struggle.

Roger Nygard has balanced humor and seriousness in his documentaries Trekkies, The Nature of Existence, The Truth About Marriage, and The Comedy Store. Nygard has also directed TV series The Office and The Bernie Mac Show, and edited Emmy-nominated episodes of VEEP and Curb Your Enthusiasm. Roger wrote a book about editing comedy called Cut to the Monkey. He didn't learn his lesson, so he did it again; his new book is called The Documentarian. Despite reports to the contrary, Roger has never been indicted OR convicted. It's important to have goals.

In our discussion with The Documentarian editor and author Roger Nygard, ACE we talk about:

• The biggest mistake new doc makers make
• It's not a pitch, it's a project
• Working backwards to move forward
• The intrinsic link between the interview and the edit
• Editorial shortcuts through the material minefield

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