Editors - Nona Khodai ACE and Tim Roche

The Fantastic Four: First Steps sees editors Nona Khodai and Tim Roche reunite for the 37th film in the Marvel Cinematic Universe (MCU) and the second reboot of the Fantastic Four film series.  The film also marks the first time the two have worked together since Marvel's live action series debut, WandaVision.  Although each had worked with him separately before, WandaVision was the first time both Nona and Tim worked with director Matt Shakman on a Marvel project. The Fantastic Four: First Steps takes place in 1964, as the world celebrates the fourth anniversary of astronauts Reed Richards, Sue Storm, Johnny Storm, and Ben Grimm becoming the superhero team known as the Fantastic Four (Mister Fantastic, Invisible Woman, Human Torch and the Thing).  But the celebration doesn't last for long as the four face their most daunting challenge yet as they defend Earth from Galactus and Silver Surfer.

NONA KHODAI ACE

A Southern California native and graduate of USC's Cinematic Arts school, Nona started her career as an assistant on such films as the Bad Robot production, Super 8.  Her first foray as an editor on a "superhero" project came courtesy of showrunner Eric Kripke who brought her aboard the The Boys, where she would work with director Matt Shakman for the first time.  Nona was twice nominted for an Emmy award for her work on Marvel's WandaVision, and nominated for another Emmy for Marvel's Ms. Marvel.

TIM ROCHE

Known for his work on comedy series like Silicon Valley and It's Always Sunny in Philadelphia, as well as for his contributions to the Marvel Cinematic Universe, including WandaVision, Thor: Love and Thunder and She-Hulk: Attorney at Law, Tim has received five Emmy nominations for his work, including one this year for Welcom To Wrexham, a show that has already brought him an ACE Eddie Award.

The Credits

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Editor - Yan Miles ACE, BFE

Andor editor Yan Miles partly attributes the decision not to extensively use the Stagecraft "volume" technology as the reason why his series has a distinctly different look and feel to other shows under the Star Wars banner. Instead, Andor leans into real-world environments, capturing the grit and authenticity that Yan believes enhances the narrative. Another significant factor in that differentiation is Tony Gilroy's writing, where the narrative complexity lies. Despite knowing the ultimate fate of characters like Cassian Andor, the series thrives on the uncertainty surrounding minor characters and their arcs. It's in these uncharted territories that the tension in Andor finds its heartbeat. Season 2 of Andor continues the chronicling of Cassian Andor's journey as he becomes a key figure in the burgeoning Rebel Alliance against the Galactic Empire. The season covers the four years leading up to the events of Rogue One, with each arc spanning a year. 

Yan Miles ACE, BFE

Yan Miles ACE, BFE is an acclaimed film and television editor whose work spans some of the most prestigious and visually dynamic series of the last decade. A member of both American Cinema Editors and British Film Editors, Yan has brought his keen sense of story and rhythm to internationally celebrated productions such as The Crown, Sherlock, and Game of Thrones. Known for his ability to blend emotional nuance with bold editorial choices, his work has helped define the tone and texture of modern prestige television.

 

The Credits

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Editors - William Hoy, ACE and Craig Alpert, ACE

Superman editors William Hoy ACE and Craig Alpert ACE didn't need to be told there was a lot riding on this movie.  Not only does it represent James Gunn's view on who Superman needs to be for modern movie-going audiences, it also kicks off Gunn's vision of the new DCU.  From the first minute of the film, viewers encounter a Superman who bleeds and is grappling with not just his limitations, but also his sense of purpose. It’s these complex layers that Bill and Craig balanced through their masterful editing. In James Gunn's new take on the most iconic character in the superhero realm, Superman must prove to the world that he is their protector and not a thread, after billionaire Lex Luthor enacts a plan to turn public opinion against him.

William Hoy, ACE

Bill is known for his work on No Way Out (1987), Dance with Wolves (1990), The Bone Collector (1999), Dawn of the Planet of The Apes (2014), War for the Planet of the Apes (2017) and The Batman (2022).

Craig Alpert, ACE

Craig is known for cutting Deadpool 2 (2018), Borat: Subsequent Moviefilm (2020), The Lost City (2022) and Blue Beetle (2023).  He was twice nominated for an ACE Eddie award in the category of Best Edited Feature Film: Comedy (Deadpool 2, Borat: Subsequent Moviefilm).

The Credits

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Producer/Director - Jeremy McCarter, Sound Designer - Misha Fiksel

Making its World Premiere at the venerable Tribeca Festival and featured on Apple Podcasts, MakeBelieve's revelatory new take on Shakespeare’s iconic tragedy drops you inside the fractured mind of the prince.  Produced and directed by Jeremy McCarter and with breathtaking binaural sound design by Tony-Award winner Mikhail "Misha" Fiksel, this is Hamlet as you’ve never heard it before.

JEREMY McCARTER

Jeremy is the founder and executive producer of Make-Believe Association, a nonprofit audio production company. Prior to Hamlet, he co-created, co-wrote, and executive produced Lake Song, the acclaimed audio-drama series that was an Official Selection of the Tribeca Festival, a Webby Award nominee, and the winner of three Signal Awards. He also co-wrote (with Natalie Moore) and executive-produced City on Fire: Chicago Race Riot 1919, an audio docudrama about the summer that ravaged and remade the city. It was co-produced by Make-Believe Association and WBEZ, and won the Headliner Award for Best in Show for radio broadcasts in 2019. Prior to founding Make-Believe, he spent five years on the artistic staff of the Public Theater in New York, where he created and ran the Public Forum series. These performances and conversations featured many of America's leading actors, writers, activists, and community leaders, exploring the intersection of arts and society.

MISHA FIKSEL

Initially a theatrical artist, Fiksel pursued his curiosity and appreciation of the screen, both as a composer and a sound designer. He has scored several independent feature films, including “Glitch” and “The Wise Kids” as well several shorts such as “Alien Queens”, “Both/And” and “The Learning Curve” (a short film inspired by an acclaimed immersive theatrical production exploring the high school experience).

Misha has worked on several trailers and promotional videos for various corporate and non-for-profit clients and expanding on his collaboration with Albany Park Theatre Project, he worked with documentary director Dan Andries, scoring several film adaptions of APTP’s stage plays, including “Feast” which received the 2018 Emmy (Midwest) for Direction.

 

The Credits

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Editor - Stephen Mirrione, ACE

F1 editor Stephen Mirrione ACE, known for his exceptional work in films like Traffic and The Revenant, took on a whole new challenge with F1, an adrenaline-fueled project that demanded innovation and intricacy at every turn.  One of the many tasks for Mirrione was ensuring the emotional weight and authenticity within F1's racing scenes. Every cut, every transition was made with the intention of drawing the audience deeper into the world of racing. The commitment to authenticity was evident in using Formula One track cameras and high-speed car mounts, which provided unparalleled realism. F1 stars Brad Pitt as race car driver, Sonny Hayes. In the 1990s, Hayes was Formula 1's most promising driver until an accident on the track nearly ended his career. Thirty years later, the owner of a struggling Formula 1 team convinces Sonny to return to racing and become the best in the world. Driving alongside the team's hotshot rookie, Sonny soon learns that the road to redemption is not something you can travel alone.

Stephen Mirrione, ACE

Stephen has spent the past thirty years building an impressive body of work.  Unlike many editors who begin their journey into postproduction as assistants, Stephen made a name for himself right away as an editor in the indie film world.  His work with directors Doug Liman (Getting in, Swingers, Go) and Jill Sprecher (Clockwatchers, Thirteen Conversations About One Thing) quickly established Stephen as a creative force to be reckoned with in the cutting room. Soon after Stephen would meet a director who would have a significant impact on his career...Steven Soderbergh.  Their time together would begin with the film Traffic.  This would not only be the first of Stephen's three Oscar nominations, but also his first Oscar win.  Following Traffic, Stephen would take on the duties of editing Soderbergh's "Ocean's" films, starring an actor that would eventually become a prominent director in his own right, George Clooney. When Clooney began looking for an editor for his first project, Confessions of a Dangerous Mind, Soderbergh recommended Mirrione.  The creative partnership between Clooney and Mirrione would result in seven feature films.  Not one to rest on his laurels too long, over that same time period Mirrione would also edit five of Alejandro G. Iñárritu's films (21 Grams, Babel, Biutiful, Birdman or (The Unexpected Virtue of Ignorance) and The Revenant).

The Credits

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Assistant Editor - Jared Simon

Assistant Editor Jared Simon's new book, Every Frame Counts - An Assistant Editor's Reference Book, covers everything an assistant editor needs to know, and then some.  Topics covered in Jared's book include:

• Setting Up The Show - Everything you need to know to get up and running for the first day on the job—from setting up the printer to setting up the NEXIS.
• Media Composer and FileMaker - A deep technical dive into the tools assistants use in the context of a cutting room.
• Dailies Workflow - Soup to nuts coverage of the dailies process in excruciating detail, including a nifty downloadable checklist! You’ll love it.
• Audio - ADR, full 5.1 workflow tips, how to address complex music sync notes, and an overview of the mix stage.
• VFX - Tips for creating temp VFX and managing the workload of a VFX editor. Yeah, we’re gonna talk about FileMaker.
• Digital Intermediate - What to expect when you’re expecting to spend time in the DI. Color pipelines, Titles, Review sessions… you name it.
• Screenings - How to prepare for screenings—internal, external, and preview screenings.
• Turnovers - Let’s make sure our naming conventions are consistent, and our encoding is efficient.
• Best Practices - What do we do when the editor is, well, editing? Manage versions, communicate using markers, make sure the project is backed up… and more!

 

JARED SIMON

Jared Simon is an editor and assistant editor with selected credits including Ad Astra, The Piano Lesson, Chevalier, and Come From Away. He frequently works with editors John Axelrad, ACE and Leslie Jones, ACE.  Jared earned a BFA in Film Editing from the School of Visual Arts. In addition to his professional pursuits, he's tried every flavor of La Croix and enjoys collecting physical media.

 

The Credits

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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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