Editors - Catherine Haight ACE, Laura Zempel ACE and Isaac Hagy ACE

SIRENS editors Cate, Laura and Isaac have crafted a television experience that intrigues and entertains the audience, while also challenging them on conventional gender biases. Their work on SIRENS was not just professionally unifying but creatively fulfilling as well. The team established a ritual of analyzing scenes together each week, discussing tone, performance, and overarching storyline elements. This collaborative approach allowed them to align their unique editing styles into a cohesive representation of the series' narrative.  One of the remarkable aspects of SIRENS is its tonal balance—oscillating between humor, mystery, and drama. The show’s collaborative ethos even extended beyond the main editing trio. They leaned on the talents of assistant editors like Jen Bryson, who ultimately co-edited Episode 5 with Laura. Based on her play, Elemeno Pea, Molly Smith Metzler's Sirens tells the story of two estranged sisters from Buffalo, Devon and Simon.  While Devon is back in Buffalo, caring for their father who suffers from early on-set dementia, Simone is living in the idyllic seaside town Port Haven, working as a personal assistant for a wealthy socialite named Michaela.  When Devon travels to Port Haven to bring Simone back to Buffalo to help care for their father, she finds a resistant sister who seems to be under some kind of mind control from her employer.  When Devon refuses to leave without Simone, the mystery of Michaela unravels in a blend of drama and dark comedy.

CATHERINE HAIGHT, ACE

Catherine Haight, ACE is a film editor who has helped bring many award-winning television shows and films to the screen. Cate has had a long collaboration with Joey Soloway including the film Afternoon Delight, starring Kathryn Hahn, the award winning series Transparent, and I Love Dick. She also cut both The Polka King, starring Jack Black, and The Good House, led by Sigourney Weaver and Kevin Kline, with the directing team of Maya Forbes & Wally Wolodarsky. Cate also has edited the films Troop Zero, starring Viola Davis and Allison Janney, and Puzzle, with Kelly Macdonald and Irrfan Khan. She also cut the television series High Desert, Mozart in the Jungle, Girls, and New Girl.   Her work on the pilot episode of Transparent earned her a nomination for both an Emmy and ACE Eddie Award, and she also received an ACE Eddie nomination for the pilot of Girls. Cate is a member of The American Cinema Editors and the Academy of Motion Picture Arts and Sciences. Originally from New Hampshire, she now resides in Los Angeles with her husband.

LAURA ZEMPEL, ACE

Laura Zempel, ACE is a two-time Emmy Award winning editor based in Los Angeles. Originally from Sacramento, she received a BFA in Film Production from Chapman University. She began her career in as an assistant editor, and has gone on to edit features and television such as HBO’s Euphoria, Apple TV’s Lessons In Chemistry, Netflix’s Beef.

ISAAC HAGY, ACE

Isaac Hagy, ACE graduated from USC film school in 2006 and continues to live and work in Los Angeles.  His editing credits include feature films Waves and The Friend, as well as television programs Atlanta, Mr & Mrs Smith, Station Eleven, American Vandal, and Chef's Table.  He has been honored with two Emmy and four ACE nominations.  But to be fair, his Assistant Editor - a pit mix named Blue - does most of the hard work.

The Credits

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Editor - Eddie Hamilton ACE

MISSION: IMPOSSIBLE - THE FINAL RECKONING editor Eddie Hamilton ACE has edited the last four of the franchise's eight films.  While there are a combined five other editors responsible for the first four movies, the challenge of tying up any loose ends and bringing the franchise to a close (seemingly) fell solely to Eddie.  In addition to his work on the Mission Impossible films, Eddie has also taken part in two other action franchises.  Eddie cut TOP GUN: MAVERICK as well as two of director Matthew Vaughn's "Kingsman" films.  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action movie editors working today. Picking up two months after the events of MISSION: IMPOSSIBLE - DEAD RECKONING PART ONE, Ethan Hunt and the IMF team must stop a malevolent AI known as "The Entity" from either forcing the world powers into a nuclear war or launching the missiles on its own.  Adding to the challenge, they must do this before Ethan's nemesis Gabriel gains control of The Entity and its power to dominate the world.

Eddie Hamilton, ACE

Prior to finishing the seventh and eighth films in the Mission Impossible franchise, Eddie cut Top Gun: Maverick, directed by Joseph Kosinski, for which he was nominated for the Oscar and BAFTA Film Editing awards, and won the ACE Eddie and Hamilton Behind The Camera Award. He also cut Mission: Impossible - Fallout and Mission: Impossible - Rogue Nation for director Christopher McQuarrie. Other credits include Kingsman: The Secret Service, Kingsman: The Golden Circle, X-Men: First Class and Kick-Ass for director Matthew Vaughn. After 30 years in the industry Eddie has cut over 20 feature films (both indies and studio movies) in a wide variety of genres as well as TV dramas, documentaries and award-winning short films. His enthusiasm for big screen storytelling is matched only by his total dedication to the craft of film editing, his nerdy technical expertise and his undisputed love of chocolate. He has given presentations on Avid Media Composer editing at NAB and IBC. Eddie is a member of the Academy Of Motion Picture Arts & Sciences, American Cinema Editors, British Film Editors and BAFTA, was on the feature film panel at EditFest London in 2013 and 2018, and was the keynote speaker at EditFest Los Angeles in 2022.

The Credits

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Editors - Todd Downing ACE and Amelia Allwarden ACE

OVERCOMPENSATING editors Todd and Amelia often leaned on each other for perspective throughout the post process. As Todd recounted, "You lose perspective, but there are other jokes that you always, always laugh at, and then you know it’s a gem."  Editing comedy, as Amelia noted, involves understanding the micro-timing of jokes — knowing precisely when to cut away or linger, to maximize comedic impact.  Todd echoes this sentiment, explaining that edits can drastically influence the pacing and timing essential for landing a joke. Ultimately, the collaborative dynamic between the two allowed them to strike a balance between comedy and the series' more serious undertones. OVERCOMPENSATING tells the story of Benny, a former high school football star and valedictorian from Idaho, as he begins his freshman year of college at the fictional Yates University, where his sister Grace is a junior. He is closeted and masks his true identity by aping the machismo of his male peers, particularly that of Peter, Grace's jock boyfriend. On his first day on campus, Benny befriends Carmen, a freshman from New Jersey who was an outsider in high school. Together, Benny and Carmen navigate their first year of college, which includes new relationships, pledging the college's secret society, and figuring out their true selves.

TODD DOWNING, ACE Todd Downing, ACE edits television series, films, and documentaries across a wide range of genres, from arthouse animation to slapstick comedy to documentaries about the Syrian civil war.  His credits include Russian Doll, Difficult People, Frontline, and Mrs. America.  He’s worked in both the U.K. and the U.S.A., and has been nominated for three BAFTAS, an ACE Eddie, and won two Royal Television Society awards. AMELIA ALLWARDEN, ACE

Amelia Allwarden, ACE is a Los Angeles-based film and television editor.  Originally from New Hampshire, she earned a highly coveted spot in the American Cinema Editors (ACE) internship program in 2015. She then spent a season and a half as an assistant editor on TNT’s Good Behavior, before being promoted to editor in season 2. Amelia worked as an assistant editor on season 2 of HBO’s Westworld under showrunners Jonathan Nolan & Lisa Joy. During this time, Amelia edited Evan Rachel Wood’s debut short film Queen. In 2021, she reunited with Nolan & Joy as an editor on Westworld season 4. She most recently edited Dune: Prophecy for HBO, and the Marvel Studios series Echo. Amelia edited six episodes across all seasons of the Emmy nominated Hulu series Pen15. She collaborated with writer/director Aubrey Plaza on Cinema Toast, a Duplass Brothers anthology series on Showtime.

The Credits

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Editors - Cedric Nairn-Smith, Melissa Lawson Cheung and Stephanie Filo ACE

DAREDEVIL BORN AGAIN editors Cedric, Melissa and Stephanie open up about their experiences and the unique challenges they faced while working to bring back Matt Murdock and his crime fighting alter ego under the Marvel Television banner.  Assembling this team of super editors happened through various means.  Stephanie credits her introduction to Marvel through a mentor, while Melissa explains how her work in Marvel's SECRET INVASION showcased her skills in creating grounded action sequences, helping to streamline both budgets and timelines. MOON KNIGHT veteran Cedric, on the other hand, found his way to the series through fortuitous timing during a project lull. DAREDEVIL BORN AGAIN begins several years after the events of the Netflix-hosted DAREDEVIL (2015–2018) and a year after blind lawyer Matt Murdock stopped his activities as the masked vigilante Daredevil.  In the new series, Murdock continues his fight for justice as a lawyer while former crime boss Wilson Fisk is elected mayor of New York City, putting the pair on a collision course.

CEDRIC NAIRN-SMITH

In addition to his work on DAREDEVIL: BORN AGAIN, Cedric is known for his work as an editor on; MOON KNIGHT (2022), LISEY’S STORY (2021), THE BOYS (2019-2020) and BATES MOTEL (2015-2017).

STEPHANIE FILO, ACE

Stephanie Filo, ACE is a four-time Emmy, as well as Peabody and ACE Eddie Award-winning Film/TV Editor and activist based in Los Angeles, CA and Sierra Leone, West Africa. She serves on the board for Girls Empowerment Sierra Leone, a social impact and feminist-based organization for Sierra Leonean girls aged 11-16. She is one of the co-founders of End Ebola Now, and organization created in 2014 to spread accurate information and awareness about the Ebola Virus and its impact through artistic community activism.

MELISSA LAWSON CHEUNG

Prior to her work on DAREDEVIL: BORN AGAIN, Melissa's work could be seen in shows such as MR. ROBOT (2015) and OUTLANDER (2016-2017), as well as features like MILE 22 (2018).

The Credits

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Editor - Eric Kissack, ACE

THE STUDIO editor Eric Kissack began journey his journey with series co-creator and star, Seth Rogen, on the Sasha Baron Cohen film, Bruno.  From there their partnership would continue, spanning projects like Sausage Party, Black Monday and others.  For their current project, they would be working closer than ever before, as Seth's vision for THE STUDIO necessitated Eric's presence on set, fostering a tighter creative process that brought editorial not only on location, but into aspects of prouction. THE STUDIO tells the story of Matt Remick, the newly appointed head of the floundering film production company Continental Studios. A self-described cinephile, Matt struggles to balance Continental's corporate aims in an increasingly IP-driven entertainment landscape with his own ambition to produce quality films.

ERIC KISSACK, ACE

Born and raised in New York City, Eric Kissack fell in love with movies when he went to see The Empire Strikes Back at the tender age of 4, a questionable parenting decision but a pivotal career moment. He spent every free moment after that watching films and went on to study film at Brown University.

After school, Eric bumbled about for a bit but then got an early break as a film editor and spent 20 years cutting funny films in New York and Los Angeles. He had the pleasure of working on Role Models, Brüno, Cedar Rapids, The Dictator, Horrible Bosses 2, Daddy’s Home, Instant Family, Barb & Star Go to Vista Del Mar and Bottoms.

In 2012, he directed his first feature, Love, Sex & Missed Connections, an independent comedy that won several festival awards including Best Narrative Feature at the Cleveland International Film Festival and the Special Jury Award for First Time Filmmaker at the Traverse City Film Festival.

In 2014, he directed a short film called The Gunfighter that won over two dozen awards including the Audience Award for Best Short at the 2014 Los Angeles Film Festival and was included in the 2015 Saatchi & Saatchi’s New Director’s Showcase at the Cannes Lions.

In 2016, Eric decided to spend more time in television. He edited Black Monday, Rutherford Falls and Pam & Tommy among other shows. He was nominated for an Emmy for his work editing Veep and an ACE Award for his work editing The Good Place.

Eric directed his first episode of television for the show Rutherford Falls on Peacock which premiered in June 2022.  He is currently working on a new television show for Amazon based on the Spider-Noir character starring Nicolas Cage. It premieres in 2026.

The Credits

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Editor - Peggy Tachdjian, ACE

MONSTERS editor Peggy Tachdjian will tell you that, in the world of television, few things are more daunting than delivering a true crime story that is both gripping and respectful. Her work on the second season of the Netflix series delves deep into the infamous tale of the Menendez brothers, weaving in elements of humor, trauma, and the complexities of the human condition.  Peggy gives us an insider's perspective on this challenging editing journey, her working relationship with co-creator Ryan Murphy, and the emotional landscape navigated throughout the project. Monsters: The Lyle and Erik Menendez Story is the second season of the American biographical crime drama anthology television series Monster, created by Ryan Murphy and Ian Brennan for Netflix. The season centers on the 1989 parricides of José (Javier Bardem) and Kitty Menendez (Chloë Sevigny), who were killed by their sons, Lyle (Nicholas Alexander Chavez) and Erik (Cooper Koch). It incorporates the Rashomon effect by presenting the story from multiple perspectives, with the brothers' viewpoint serving as the central narrative.

PEGGY TACHDJIAN, ACE

An Emmy Award-winning Lebanese-American film and television editor, most recently Peggy was nominated for an Emmy for her work on the Hulu comedy series Only Murders in the Building.  With over 20 years’ experience editing across multiple formats and genres, Peggy began her career in documentary and unscripted before transitioning to scripted television and film. Some of her recent credits include Shrinking on Apple TV+, FX's American Horror Story, the Netflix hit Ratched, and the musical feature The Prom, starring Meryl Streep. She has also worked on many beloved reality shows like Project Runway, RuPaul’s Drag Race, Keeping Up With the Kardashians, and Born This Way, for which she earned four Primetime Emmy nominations for editing. In 2006 she won a Daytime Emmy for her work on NBC’s Starting Over.

The Credits

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Editors - Harry Yoon, ACE and Angela M. Catanzaro, ACE

THUNDERBOLTS editors Harry Yoon and Angela M. Catanzaro each gained a whole new appreciation for production crews, having spent considerable time themselves cutting on-set and as a integral part of the process. Harry reflects on his previous working relationship with director Jake Schreier on Beef and how he came on board for THUNDERBOLTS.  Angela also shares her excitement about joining the MCU after working on the feature film Prey. The editors delve into the collaborative process and the importance of depicting mental health themes, and also touch on the critical balancing act of creating a film that feels both intimate and action-packed. The discussion includes the unique musical approach of involving the composers early in the production and the nuances of fine-tuning comedic timing in the edit. Directed by Jake Schreier from a screenplay by Eric Pearson and Joanna Calo, THUNDERBOLTS* is the 36th film in the Marvel Cinematic Universe.  The story follows former black widow Yelena Belova (Florence Pugh) as she carries out deadly operations for CIA director Valentina Allegra de Fontaine (Julia Louis-Dreyfus). De Fontaine faces imminent impeachment for her work with O.X.E. Group, so she dispatches Yelena, John Walker, Ava Starr, and Taskmaster to a covert O.X.E. facility under the pretense of a special assignment. Once there, they find themselves ensnared in a death trap, uniting the unconventional team of antiheroes as they take on a dangerous mission that will force them to confront the darkest corners of their pasts.

HARRY YOON, ACE

THUNDERBOLTS* marks Harry's second stint in the MCU with the first being Shang-Chi and the Legend of the Ten Rings (2021).  Immediately prior to his work on that film, Harry was being lauded for his work with director Lee Isaac Chung on the Oscar®-nominated film, Minari (2020).  Harry’s other work includes the films The Last Black Man in San Francisco (2019), First Man (2018) and Detroit (2017).

ANGELA M. CATANZARO, ACE

Angela Catanzaro is a Los Angeles-based Emmy and Eddie Award-nominated editor who works in both television and feature films. Angela is a member of The Academy of Television Arts & Sciences, the Motion Picture Editors Guild, American Cinema Editors, and serves on the editing faculty at the American Film Institute.  Prior to THUNDERBOLTS*, Angela worked on the film Prey (2022) and such TV shows as Suits and The Man in the High Castle.

The Credits

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Editors - Mark Strand ACE, Joey Reinisch, Lauren Pendergrass and Annie Eifrig

In this episode, we explore how THE PITT editing team of Mark, Annie, Joey, and Lauren navigated the unique challenges of cutting this intense medical drama. From their experiences working with producer John Wells to dealing with emotionally charged scenes, they reveal their techniques for maintaining authenticity and managing the show's fast-paced environment. They also share their personal connections to the material and how they balance relentless action with powerful storytelling. Created by R. Scott Gemmill and executive produced by John Wells and Noah Wyle, THE PITT follows an emergency department staff as they attempt to overcome the hardships of a single 15-hour work shift at the fictional Pittsburgh Trauma Medical Hospital. They do this while having to navigate staff shortages, underfunding, insufficient resources and a handful of rats run amok in the ER. Each episode of the season covers approximately one hour of the work shift.

MARK STRAND, ACE

Mark Strand is a Los Angeles-based editor with 25 years of experience in scripted drama, comedy, and procedurals, as well as long format documentaries, reality television, clip shows, news programs, television commercials, and everything in between.  Past projects include ANIMAL KINGDOM, RIZZOLI & ISLES and SHAMELESS.

JOEY REINISCH

Joey Reinisch is a seasoned editor known for his work on "Better Call Saul," with extensive experience in editing various genres including one-hour films, features, drama, dramedy, and horror.

LAUREN PENDERGRASS

Editor and director Lauren Pendergrass is known for her work on NEW AMSTERDAM, MAYANS MC and THE SONS OF ANARCHY.

ANNIE EIFRIG

Annie fell in love with editing at the Minneapolis College of Art & Design where she received a Bachelor of Fine Arts degree. Since then she’s worked with a wide variety of directorial talents, always striving to bring an internal vision to the screen.  Past projects include MAID, BETTER THINGS and TOO OLD TO DIE YOUNG.

The Credits

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Editors - Geoff Richman ACE, Joe Landauer, Keith Fraase ACE

The Severance editing team of Geoff Richman, Joe Landauer and Keith Fraase discuss their experiences and creative processes for the hit show's second season. They talk about their initial impressions of the project, preparation to join the show, and specific challenges in editing various episodes. Highlights include creating complex montages, handling visual effects, maintaining geographic and narrative coherence, and managing ambitious scenes like Mark's dual-dialogue via a DV camera. They also discuss the excitement of uncovering scripts and scenes as the series progresses. Created by Dan Erickson and exec produced (and often directed) by Ben Stiller, SEVERANCE follows employees at the biotechnology corporation Lumon Industries who have undergone "severance"—a medical procedure that ensures they retain no memories of the outside world while at work and have no recollection of their job once they leave. This results in two distinct personalities for each employee: the "innie", who exists solely within Lumon, and the "outie", who lives their personal life outside of work.

GEOFF RICHMAN, ACE

Geoffrey Richman, ACE, is a picture editor known for his work on both scripted and unscripted film and TV. Earlier credits include work on documentaries such as Murderball and Sicko, as well as documentary series such as Anthony Bourdain’s A Cook’s Tour. Geoffrey is also known for his work on the documentary The Cove, in addition to his editing work for Mike Birbiglia’s comedy specials Thank God For Jokes and The New One. Additional credits include work on scripted mini series such as Escape at Dannemora. Most recently Geoffrey has worked on 2020’s Tiger King, Til Kingdom Come, as well as Palmer for Apple TV+.

JOE LANDAUER

Joe Landauer is an editor known for Signs (2002), Time Cut (2024) and Hello, Goodbye and Everything in Between (2022)

KEITH FRAASE, ACE

Originally intending to be an actor, Keith Fraase fell in love with behind-the-camera work while at the University of Texas at Austin. Then he thought he wanted to be a cinematographer, but eventually fell into an apprentice editor job with Sandra Adair, ACE, to replace a friend who was leaving that position on Elvis and Annabelle (2007). Since then, he has worked on projects such as This the Night, Naomi Osaka, and Past Lives, for which he was nominated for an ACE Eddie Award. 

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Editor - Dan Rovetto, ACE

SUITS LA editor Dan Rovetto's career path was far from straightforward. Reflecting on his early days, he shares how intern experiences at MTV laid the foundation for his editing career.  Our conversation covers his transition from reality TV editing to scripted television, plus the impact of streaming, social media and Meghan Markle on the resurgence of the original 'Suits' series.  We also talk about the influence of music choices and the role of assistants in the editing process.  Dan further discusses the unique pressure of editing a pilot episode, especially for a series as anticipated as "Suits LA", including the high stakes involved and the need to set up a new world. Created by SUITS showrunner Aaron Korsh, SUITS LA centers on how Ted Black, a former federal prosecutor from New York, has reinvented himself representing the most powerful clients in Los Angeles. But his firm is at a crisis point, and in order to survive, he must embrace a role he held in contempt his entire career. Ted is surrounded by a stellar group of attorneys who test their loyalties to both Ted and each other while they can't help but mix their personal and professional lives. On top of it all, Ted must come to terms with the events that years ago led him to leave behind everything and everyone he loved.

DAN ROVETTO, ACE

SUITS LA editor Dan Rovetto, ACE is known for editing Suits, Pearson and Grey's Anatomy. He grew up on the east coast of the United States getting his start in entertainment at MTV in Times Square. Following his passion for editing and sense of adventure he moved to Los Angeles, CA in 2010. After a short time he made the transition into scripted and got his start editing on the hit USA Network series Suits where he quickly made a name for himself. In 2022 Dan Rovetto became a proud member of American Cinema Editors.

The Credits

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