Editor - Nick Houy ACE, VFX Editor - Matt Garner and Apprentice Editor - Maya Rivera

The BARBIE editing team of Nick Houy ACE, Matt Garner and Maya Rivera seemed to have as much fun in the cutting room as what audiences saw on the big screen.  Despite this being the first time the three worked together, they described the process of working on BARBIE to be an open, collaborative "family" atmosphere where both personal time and creative contributions were valued.

Stereotypical "Barbie" (Margot Robbie) and a wide range of fellow Barbies all reside in Barbieland, a matriarchal society where all women are self-confident, self-sufficient, and successful. While their Ken counterparts spend their days engaging in recreational activities at the beach, the Barbies hold important positions as doctors, lawyers, and politicians.  Beach "Ken" (Ryan Gosling) is only happy when he is with Barbie and seeks a closer relationship, but Barbie rebuffs him in favor of independence and female friendships.  Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbieland.  However, when they get a chance to go to the "real" world, they soon discover the joys and perils of living among humans.

NICK HOUY, ACE

NYC-based Nick Houy is now on his third film with actor/writer/director Greta Gerwig.  The two previously teamed up for LADY BIRD (2017) and LITTLE WOMEN (2019).  In addition to his work with Gerwig, Nick has also cut for actor/director Jonah Hill on MID90'S (2018) and STUTZ (2022).  In 2017, Nick won an Emmy co-editing the first episode of the mini-series THE NIGHT OF alongside editor Jay Cassidy.

MATT GARNER

Coming into his work on BARBIE, Matt brought with him the enviable experience of having worked on three films for director Martin Scorsese; HUGO (2011), THE WOLF OF WALL STREET (2013) and THE IRISHMAN (2019).

MAYA RIVERA

Apprentice editor Maya Rivera's editorial career had hardly begun and yet she was a valued contributor to the biggest film of 2023.  Much of that can be attributed to her initiative in walking up to editor Nick Houy at a screening for LITTLE WOMEN and saying, "I want to work with you"!

Editing BARBIE

In our talk with the BARBIE editing team, we discuss...

• First reactions to a film nobody thought could happen
• Building a better Barbieland
• Barbie vs The Irishman
• Whose baby is this?
• Making things up (music?  entire scenes?) as you go along

The Credits

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Editors - Richie Edelson and Sarah Zeitlin

The ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin walked similar but separate paths in the early stages of their careers.  Each cut their editorial teeth in the world of unscripted and both took a turn at the same mockumentary sitcom format that they would employ in the show that finally united them as co-editors.

Abbott Elementary is a mockumentary sitcom created by Quinta Brunson for ABC. It stars Brunson as Janine Teagues, an optimistic second-grade teacher at the poorly funded Willard R. Abbott Elementary School; a predominantly Black Philadelphia public school where a documentary crew is recording the lives of teachers working in underfunded, mismanaged schools.  Although conditions at the school are harsh and most teachers don't last more than two years, Teagues is determined to help her students despite the circumstances.

RICHIE EDELSON

Richie's early career path found him in the cutting rooms of popular unscripted series such as PROJECT RUNWAY (2008), REAL CHANCE OF LOVE (2008-09) and ROB DYRDEK'S FANTASY FACTORY (2009).  Soon after he would get to flex his comedy chops on sitcoms like PARKS AND RECREATION (2012-13), BLACK-ISH (2014-17) and SUPERSTORE (2017-21).  It would be Edelson at the helm of the Avid when it came time to develop the pilot for the soon-to-be hit series, ABBOTT ELEMENTARY (2021-23).

SARAH ZEITLIN

Like Richie, Sarah has also logged a few miles on the road of reality television; assisting on HELL'S KITCHEN (2008), plus assisting and editing on THE MILLIONAIRE MATCHMAKER (2008-11).  But it would be assisting on the mockumentary hits MODERN FAMILY (2009-10) and PARKS AND RECREATION (2012) that would be a sign of things to come for her role as editor on ABBOTT ELEMENTARY (2022-23).  Sarah's work as an editor can also be seen in dramas like HOMELAND (2017-20) and MAYOR OF KINGSTOWN (2021).

Editing Abbott Elementary

In our discussion with the ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin, we talk about:

• The hidden benefits of commercial breaks
• The anatomy of a mockumentary sitcom
• The truth of building a character through comedy
• The sound of silence or just a bad speaker?
• Lovely parting gifts

The Credits

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Editor - Eddie Hamilton ACE

MISSION: IMPOSSIBLE - DEAD RECKONING PART 1 editor Eddie Hamilton ACE has been immersed in the TCEU (Tom Cruise Extended Universe) since 2015 when Eddie took the editorial helm of MISSION IMPOSSIBLE: ROGUE NATION.  And with the exception of a quick return to his roots with director Matthew Vaughn for KINGSMAN: THE GOLDEN CIRCLE (2017), Eddie has spent all his subsequent time working on MISSION: IMPOSSIBLE - FALLOUT (2018), TOP GUN: MAVERICK (2022) and the upcoming MISSION: IMPOSSIBLE - DEAD RECKONING PARTS 2 (2024).  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today.

In this latest installment of the now 7-film long action franchise, Ethan Hunt and the IMF team must track down a terrifying new weapon that threatens all of humanity if it falls into the wrong hands. With control of the future and the fate of the world at stake, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than the mission -- not even the lives of those he cares about most.

Editing Mission: Impossible - Dead Reckoning Part 1

In our discussion with editor Eddie Hamilton ACE, we talk about:

• Cutting two films at one time
• Action first, dialogue last
• "Have 160TB hard drive, will travel"
• The verbal choreography of an exposition scene
• Edgar Wright's keen ear for storytelling

The Credits

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Hear Eddie talk about his work on Mission: Impossible - Fallout

Take a guided tour with Eddie on his Avid timeline from Mission: Impossible - Fallout

Listen to Eddie's podcast on TOP GUN: MAVERICK

Check out Eddie Hamilton's Timeline Tour for TOP GUN: MAVERICK

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Editor - Nena Erb, ACE

JOY RIDE wasn't the film Emmy-winning editor Nena Erb ACE was looking for when she asked her agent to see what was out there, but Nena WAS the editor that JOY RIDE was looking for.  Fortunately, they found each other, because together they created a film that broke boundaries, not to mention the mold, when it comes to how Asian women are portrayed in comedy features.  After building a career in TV on reality shows like REAL HOUSEWIVES OF ORANGE COUNTY and DANCING WITH THE STARS, as well as comedy hits like CRAZY EX-GIRLFRIEND and INSECURE, Nena wanted a drama for her first big feature project, and within the brash bawdiness of JOY RIDE, Nena found the drama she was seeking.

JOY RIDE stars Ashley Park as upwardly mobile career woman, Audrey Sullivan.  When Audrey's business trip to Asia goes sideways, she enlists the help of Lolo (Sherry Cola), her childhood best friend, Kat (Stephanie Hsu), a college friend, and Deadeye (Sabrina Wu), Lolo's eccentric cousin. Their epic, no-holds-barred experience becomes a journey of bonding, friendship, belonging and wild debauchery that reveals the universal truth of what it means to know and love who you are.

Editing Joy Ride

In our discussion with JOY RIDE editor Nena Erb ACE, we talk about:

• Finding what you're looking for in the place you weren't looking
• Dialing up the "dirty" all the way to the drama
• The post process for first-time directors
• The subtle art of sub-titles in comedy
• Sound design for assistants

The Credits

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Editors - Mike McCusker ACE, Andrew Buckland ACE and Dirk Westervelt ACE

The INDIANA JONES AND THE DIAL OF DESTINY editing team of McCusker, Buckland and Westervelt have been amping up the action in the cutting room for a while now.  First joining up for James Mangold's LOGAN (2017); the team would collaborate once more on Mangold's FORD V FERRARI (2019) before finding themselves at the editorial helm of the fifth, and most likely final, installment of the Indiana Jones franchise.

INDANA JONES AND THE DIAL OF DESTINY sees daredevil archaeologist Indiana Jones race against time to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, he soon finds himself squaring off against Jürgen Voller, a former Nazi who works for NASA.

MIKE McCUSKER, ACE

Aside from his Oscar®-winning turn in Mangold's FORD v FERRARI (2019), Mike McCusker is known for a wide variety of films including; WALK THE LINE (2005), AUSTRALIA (2008), THE AMAZING SPIDER-MAN (2012) and THE GREATEST SHOWMAN (2017)

ANDREW BUCKLAND, ACE

Also an Oscar®-winner for FORD v FERRARI (2019), Andrew "Don't call me Andy" Buckland is a frequent editorial collaborator with Mike McCusker on films like; 3:10 TO YUMA (2007), THE WOLVERINE (2013) and THE GIRL ON THE TRAIN (2016).

DIRK WESTERVELT, ACE

When he's not cutting for James Mangold on projects such as; LOGAN (2017) and FORD v FERRARI (2019), Dirk's editing chops can be seen in  DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019).

Editing INDIANA JONES AND THE DIAL OF DESTINY

In our discussion with Mike, Andrew and Dirk, we talk about:

• Making the most of motifs
• To Wilhelm or not to Wilhelm
• Dealing with dialogue during de-aging
• A touch of 70's cinema for Indy
• Andrew Buckland - Man of a Thousand Voices

The Credits

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See Dirk present the Avid timelines from DIAL OF DESTINY

Listen to Mike and Andrew talk about their work on FORD v FERRARI

Hear Dirk discuss cutting ZOMBIELAND: DOUBLE TAP

Watch Dirk present a behind the scenes tour of DEADPOOL 2

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Editor - Randy Trager, ACE

NIMONA editor, Randy Trager, ACE makes a return trip to The Rough Cut to share the inside story of how his latest film went from dead on the cutting room floor to live and loud on Netflix.  Beginning its development life under the banner of Blue Sky studios and its parent company 21st Century Fox, NIMONA and the rest of the Blue Sky team were moved under Disney during their acquisition of Fox.  The film's rocky development road seemingly ended in April 2021 when Disney shuttered Blue Sky.  With her relentless, never-say-die attitude, NIMONA found new life again with Annapurna Pictures and Netflix.

NIMONA tells the tale of Ballister Boldheart (Riz Ahmed), a knight in a futuristic medieval world, who is framed for a crime he didn't commit.  The only one who can help him prove his innocence?  Nimona (Chloë Grace Moretz), a mischievous teen with a taste for mayhem - who also happens to be a shapeshifting creature Ballister has been trained to destroy. But with the entire kingdom out to get him, Nimona's the best (and technically the only) sidekick Ballister can hope for.  And as the lines between heroes, villains, and monsters start to blur, the two of them set out to wreak serious havoc - for Ballister to clear his name once and for all, and for Nimona to...just wreak serious havoc.

RANDY TRAGER, ACE

Randy began his editorial journey as an assistant editor on features such as NURSE BETTY (2000), WHAT WOMEN WANT (2000) and MEN IN BLACK II (2002).  He then made the move to working in feature animation as an assistant on ROBOTS (2005) until he got bumped up to the editor's chair on RIO (2011), THE PEANUTS MOVIE (2015) and SPIES IN DISGUISE (2019)

Editing Nimona

In our discussion with NIMONA editor Randy Trager ACE, we talk about:

• How to pack and unpack an animated feature
• Keeping the tone light while keeping it real
• The virtual future of animation studios
• Voice over and over and over again
• Breaking the law with needle drops

The Credits

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Editors - Jason Ballantine ACE and Paul Machliss ACE

While THE FLASH editors Jason Ballantine ACE and Paul Machliss ACE* both hail from Australia, this latest entry in the DCEU would be their first time meeting one another.  Both editors have been advancing their careers away from their homeland for quite some time.  Jason has worked in LA for the past ten years, while Paul has been in London for the last twenty.  The director who would be responsible for bringing these two together is Andy Muschietti, Jason's director for IT (2017) and IT CHAPTER TWO (2019).  The two editors split editing duties pretty much down the middle for THE FLASH, each taking five of the film's ten reels.  One thing that did separate them for much of the film's development was geography.  While Jason was holding down the fort at Warner Brothers Studios in LA, Paul was on location in the UK for seven months, assembling main unit footage with Muschietti.  Following production, Machliss would join Jason in LA for six additional months of editing.  And it would be six more months before Ballantine would put the final touches on the highly anticipated "metahuman" movie.

Based on the DC Comics character of the same name, THE FLASH is the thirteenth installment in the DC Extended Universe (DCEU). The film is directed by Andy Muschietti from a screenplay by Christina Hodson and stars Ezra Miller as Barry Allen (The Flash) alongside Ben Affleck, Michael Keaton, Sasha Calle, Michael Shannon, Ron Livingston and Maribel Verdú.  In the film, Barry travels back in time to prevent his mother's death, which traps him in an alternate reality without metahumans. Barry enlists the help of; his younger self, an older Batman and the Kryptonian castaway Supergirl in order to save this world from General Zod and return to his universe.

JASON BALLANTINE ACE

Jason Ballantine began his editing career in the horror genre (one which he would return to often) with the Australian thriller WOLF CREEK (2005).  From there he would edit other fright flicks, such as PROM NIGHT (2008), CRUSH (2009) and NEEDLE (2010).  But it would be his work on director Andy Muschietti's adaptation of Stephen King's IT (2017) and IT: CHAPTER TWO (2019) that would put an exclamation point on Jason's work in the horror medium.  Jason has also previously teamed up with directors Baz Luhrmann and Matthew Vaughn for THE GREAT GATSBY (2013) and THE KING'S MAN (2021) respectively.

PAUL MACHLISS ACE

While known most prominently for his work with Edgar Wright; SPACED (1999-2001), SCOTT PILGRIM VS THE WORLD (2010), THE WORLD'S END (2013), BABY DRIVER (2017) and LAST NIGHT IN SOHO (2021), Paul also edited; the pilot episode of FLEABAG (2016), eighteen episodes of THE IT CROWD (2006-2008) and films such as THE KID WHO WOULD BE KING (2019) and THE GENTLEMEN (2019).  For his work on BABY DRIVER, Paul was nominated for an Oscar® alongside co-editor John Amos.

* [Publisher's Note]

The guests wish to express their regret and apologies for using he/him pronouns in referencing Ezra Miller (they/them). No disrespect was intended toward Ezra or anyone else.  This oversight should be attributed to all of the following conditions: jet lag, old age, and recording this interview way too early on a Sunday morning.  Thanks for your understanding.

Editing The Flash

In our discussion with THE FLASH editors, Jason Ballantine ACE and Paul Machliss ACE, we talk about:

• Turning up the volume capture way past eleven
• Taking techniques from Baby Driver to a Baby Shower
• Sounds that shouldn't be heard, but still be felt
• Editors having The Knack for needle drops...until they don't
• Scoring points off Zack Snyder and Danny Elfman

The Credits

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Hear Jason Ballantine talk about IT Chapter 2 and The Guilty

Listen to Paul Machliss talk about Baby Driver and Last Night in Soho

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Editors - Franky Guttman and Ali Greer ACE

While BARRY editors Franky Guttman and Ali Greer ACE worked independently on their own episodes of the series (the finale being the lone exception), the pair worked closely with one another and Bill Hader to review and refine each episode.  This was a process the two not only enjoyed, but credit for helping the show to maintain its high quality throughout.

BARRY follows Barry Berkman, a U.S. Marine and Afghanistan veteran from Cleveland, who works as a hitman and wrestles with loneliness, depression, and guilt caused by his lifestyle as well as his actions during his service. He travels to Los Angeles to kill a target and finds a new sense of purpose when he follows his target into an acting class. After joining the class and making plans to become an actor, using his newfound passion as an outlet for his anxiety, he struggles to distance himself from his old life and keep his past a secret from new friends and colleagues.

FRANKY GUTTMAN

Having joined the series in Season One as an assistant editor, working closely with editor Jeff Buchanan, Guttman laid his cards on the table with showrunners Alec Berg and Bill Hader after Season Two, declaring his desire to take on lead editorial duties for the show.  The gambit not only worked, but resulted in an ACE Eddie and HPA award nomination for his work on that season's sixth episode (710N).  In addition to his work on BARRY, Franky is also known for Swarm (2023) and Kidding (2018).

ALI GREER ACE

Aside from her Emmy® win in 2021 for her work on BARRY in Season Three, Ali was twice nominated for an ACE Eddie award for her work on the series, Portlandia.  Ali also received an Eddie nom for the same episode of BARRY which brought her the Emmy®.  In fact, Ali's editorial career is highlighted by several standout series in the comedy genre.  Ali's time as an assistant editor was punctuated with stints on Kroll Show (2015) as well as the aforementioned Portlandia (2015).  From there she went on to edit such shows as Dream Corp LLC (2018), Black Monday (2020), Schmigadoon! (2021) and Hacks (2021), for which she received her first Emmy® nomination.

Editing Barry

In our discussion with the BARRY editing team of Franky Guttman and Ali Greer ACE, we talk about:

• Giving the audience "2+2" instead of giving them "4"
• Being an editor at night and the "king security guard" by day
• Bringing an improv mentality into the cutting room
• The incomparable sweatiness of Fred Armisen
• How to make sure both editors tell the same story

The Credits

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Editors - Melissa McCoy, ACE and A.J. Catoline, ACE

Ted Lasso editors, Melissa McCoy and A.J. Catoline re-join this episode of The Rough Cut podcast to tell us about what goes on in the cutting room to make all the magic from the locker room.

Ted Lasso is an AppleTV+ series developed by Jason Sudeikis, Bill Lawrence, Joe Kelly and Brendan Hunt, based on a character of the same name that Sudeikis first portrayed in a series of promos for NBC Sports' coverage of the The English Premier League. The premise is that American college football coach Ted Lasso is recruited to coach an English Premier League team, AFC Richmond, despite having no experience in English football.

MELISSA McCOY ACE

Michigan native, Melissa McCoy is an editor and producer, known for Ted Lasso (2020), Rush Hour (2016) and Whiskey Cavalier (2019).  Melissa won an ACE Eddie for her work on Ted Lasso in 2021.

A.J. CATOLINE, ACE

Emmy-winning editor, A.J. Catoline is a graduate of NYU's Tisch School of the Arts and USC's Master of Professional Writing Program, and a Board Member of the Motion Picture Editors Guild, Local 700 IATSE. He is a picture editor working in television and documentary film in Los Angeles. He attended the American School in Paris and grew up in Falmouth, Cape Cod, Massachusetts.

Editing Ted Lasso - Season 3

In our discussion with Ted Lasso editors, Melissa and A.J., we talk about:

• Not doing the notes, just making them disappear
• VFX for football teams that don't have any balls
• The way Sudeikis lays his cards out on the table
• Making a mega montage
• One last look back on Lasso

The Credits

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Editors - Timothy A. Good, ACE and Emily Mendez

THE LAST OF US editors Tim Good, ACE and Emily Mendez are the perfect example of mentoring in action.  Paying forward the mentoring he received from editor Norman Buckley, ACE, Tim has always looked for ways he could elevate assistants into the first chair.  Building on her work with Tim on THE UMBRELLA ACADEMY, Emily was more than ready to grab the editorial reins when the time came for THE LAST OF US.

THE LAST OF US is set in 2023, twenty years into a pandemic caused by a mass fungal infection which causes its hosts to transform into zombie-like creatures and collapses society.  The series follows Joel (Pedro Pascal), a smuggler tasked with escorting an immune teenager named Ellie (Bella Ramsey) across a post-apocalyptic United States.  The creative force behind the video game on which the series is based is Neil Druckmann.  One of the game’s legion of fans was writer / director Craig Mazin (Chernobyl). The two would go on to successfully pitch HBO on the concept of adapting the game into a series.

TIMOTHY GOOD ACE

In addition to THE LAST OF US, Tim is known as both an editor and producer for his work on such shows as The Umbrella Academy (2019) and Fringe (2008).

EMILY MENDEZ

Emily Mendez is known for The Umbrella Academy (2019), The Resident (2018) and Light as a Feather (2018).

Editing The Last of Us

In our discussion with The Last of Us editors, Tim and Emily, we talk about:

• How to SUCCESSFULLY adapt a video game into a series
• Sound design...the assistant's advantage
• When 1 episode + 1 episode = 1 pilot
• The benefits of bottle episodes
• Meaningful mentoring

The Credits

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