Today on Art of the Cut we speak with Oscar nominee Jake Roberts, ACE, about editing Alien Romulus.

Jake has been on Art of the Cut previously for the films Brooklyn, Hell or High Water, and The Hitman's Bodyguard. He was also on for the TV series, Devs.

His work on Hell or High Water was nominated for an Independent Spirit Award, an ACE Eddie and an Oscar.

We’re going to be discussing director Fede Alvarez’s cinematic hack behind the jump scare, how pacing builds tension, and how they shot special effects in the cutting room.

You can read along with this interview and see trailers, film clips and stills from the movie at

borisfx.com/blog/aotc

Today on Art of the cut, we speak with Emmy-nominated editor Michael Harte, ACE, about editing the Netflix docu-series, “Beckham.” He was also nominated for an ACE Eddie and a BAFTA for the series.

Harte won an Emmy, an ACE Eddie a BAFTA for his editing of the documentary “Still: A Michael J. Fox Movie.”  He was also nominated for an Emmy and an ACE Eddie for his editing of the documentary “Three Identical Strangers.”

We’re going to be discussing the need to know where and how the documentary  starts, the importance of archival that speaks in conversation with the interviews, and respecting the all-important power of the truth.

If you'd like to read along with the interview, check out the blog of the podcast, which includes trailers and exclusive images and more.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with the editing team of the Apple TV Plus show, The Morning Show. We’re speaking with Carole Kravetz Aykanian, Plummy Tucker, ACE, and Henk Van Eeghen, ACE.

Carole’s work includes features like The Little Prince, Out of Time, High Crimes, and Devil in a Blue Dress. Also TV series including Dirty John, Ballers, and The Affair. 

Plummy was last on Art of the Cut to discuss editing the feature film Destroyer. Other features include The invitation and Aeon Flux, and documentary work like Alex Gibney’s Client 9. Her other TV work includes Yellowjackets and Power.

Henk won an ACE Eddie for editing About Sarah, was nominated for three Emmys, including two for Lost, for which he was also nominated for two more ACE Eddies and then won an Emmy for Lost. His other work includes the TV series Watchmen and Fargo.

You can follow along with this podcast, reading the transcript and checking out the great visual support, like trailers, clips and other images at:

borisfx.com/blog/aotc.

Today, we’re talking with Terilyn Shropshire, ACE on editing “The Woman King.” The last time I spoke with Terilyn, she had just edited “The Old Guard.” So, two films in a row with powerful female warriors! Terilyn has been nominated for a Primetime Emmy Award and she won an ACE Eddie for “Redemption: The Stan Tookie Williams Story.”

Terilyn’s other credits include another action flick with a strong female action lead, Miss Bala and the films Eve’s Bayou and Love and Basketball. She edited the extraordinary film The Secret Life of Bees and her TV credits include episode 1 of Ava DuVernay’s When They See Us. She was also an additional editor on A Wrinkle in Time.

Today on Art of the Cut we talk with ACE Eddie-nominated editor, Angela Catanzaro, ACE about editing the latest Predator movie, “Prey.”

Angela last spoke with Art of the Cut about her film "The Protege" and before that for "Five Feet Apart." Her other features include "The Foreigner" and TV series including "Man in the High Castle," "Code Black," "Parenthood," "Suits" and "Friday Night Lights" (for which she was nominated for an ACE Eddie.)

Today on Art of the Cut we’re talking with ACE Eddie winning editor, James Wilcox, ACE about the Ron Howard film, “Thirteen Lives.”

James won his ACE Eddie for the pilot episode of the Genius series “Einstein.” I last spoke with James when he edited “Hillbilly Elegy” which was also for Ron Howard. He also worked on the Aretha Franklin season of Genius as well as TV including Filthy Rich, Hand of God, Roots, Hawaii Five-O, CSI Miami, Reno 911!, Everybody Hates Chris and My Wife and Kids.

Today on Art of the Cut we’re talking with Jeff Groth, ACE. We’ll be discussing his editing work on The Gray Man, which was released recently on Netflix.

Jeff has been on Art of the Cut previously to discuss editing Joker, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie. His other feature credits include Cherry, War Dogs, Project X and Entourage. His TV credits include Entourage - for which he was nominated for an ACE Eddie - Community and the pilot for Ballers.

The other editor on the film, who was unable to join us, was Pietro Scalia, ACE, who has been a previous guest on Art of the Cut for The Martian. Pietro has won multiple Oscars and ACE Eddies for films like Black Hawk Down, Gladiator and JFK.

Today we’re speaking with Elisabet Ronnaldsdotir, ACE about editing Bullet Train with her long-time directorial collaborator, David Leitch, who - at one time was Brad Pitt’s stunt double.

Elísabet started her editing career in her native Iceland more than 20 years ago. She’s spoken with me on Art of the Cut about Mile 22 and Atomic Blonde and Chang Chi - Legend of the 10 Rings. She also edited The Deep and John Wick, Deadpool 2 and Kate, among others. With credentials like that, it’s so easy to categorize her as the queen of the action film, but I think our discussion today will show that she’s so much more than that.

Today on Art of the Cut we discuss Jordan Peele’s genre-busting sci-fi/horror/Western/thriller film, “NOPE” with editor Nicholas Monsour.

Nicholas also edited Peele’s previous film, “Us.” Additionally, his work includes, the features “Keanu,” “Action Point,” and “Last Looks.” He’s also edited TV series including “The Twilight Zone,” “Whiskey Cavalier,” “Cobra Kai,” “Brockmire,” and, of course, “Key and Peele.”

Today, on Art of the Cut we’ve got another fan-requested interview! We’re talking to Geoffrey Richman, ACE and Erica Marker, ACE - two of the editors of the AppleTV+ series “Severance.”

Geoffrey was nominated this year for two Primetime Emmy’s for editing different episodes of “Severance.” He’s also been nominated for an Emmy for his work on Tiger King. He’s also won three ACE Eddies for - his work on Escape from Dannemora - and two different documentaries: “The Cove” and “Sicko.” He also won the special jury prize at Sundance for editing the documentary “Murderball.”

Erica was also nominated this year for a Primetime Emmy for one of her episodes of “Severance.” She also cut the feature film “Baked in Brooklyn” and TV series including “The First Lady,” “Fosse/Verdon,” and “The Good Fight.”

Today on Art of the Cut, we talk to the editors of Disney Plus’s “Obi Wan Kenobi” series. Those editors are (alphabetically): Nicolas de Toth, ACE, Kelley Dixon, ACE, and Josh Earl.

Nicolas de Toth has been a previous Art of the Cut guest for his film Gunpowder Milkshake. His other work includes Hitman: Agent 47, Gulliver’s Travels, X-Men Origins: Wolverine, and Live Free or Die Hard among others. He also edited the pilot of the Hawaii-Five-O reboot.

Kelley Dixon has also been a guest several times on Art of the Cut including for her work on the film The Goldfinch and for her work on Breaking Bad and Better Call Saul. Kelley’s other work includes the TV series The Falcon and the Winter Soldier, The Passage, Castle Rock, Preacher and Halt and Catch Fire. Kelley has won or been nominated for numerous Emmys and ACE Eddies.

Josh Earl was brought onto the project as a First Assistant Editor to Kelley Dixon and eventually co-edited the final episode of Obi Wan. His previous editorial work includes the feature film Shepard, and TV series including Race to the Center of the Earth, Bering Sea Gold, Around the World in 80 Ways, and Deadliest Catch for which he won numerous Emmys and an ACE Eddie.

Today on Art of the Cut, we talk to the editors of HULU’s “The Bear.” It’s got some really innovative editing and when I queried Art of the Cut fans about the shows they wanted to hear more about, “The Bear” was high on the list.

The editor of the pilot episode - and half of the others in the series - is Joanna Naugle. In addition to her work on “The Bear,” Joanna has also worked on TV series including Human Resources, Turning the Tables with Robin Roberts, Ramy, and Some Good News.

Adam Epstein’s other work includes more than a decade at Saturday Night Live, plus TV series including Mr. Mayor, That Damn Michael Che, and Some Good News.

Today, on Art of the Cut, we’re talking with editor Alan Edward Bell, ACE about editing the film “Where the Crawdads Sing,” which was based on the 2018 best-selling novel.

Bell has been a guest on Art of the Cut several times for his work on The Hunger Games movies and Red Sparrow. Alan is an ACE Eddie nominee for his work on “(500) Days of Summer.” His other films include “The Amazing Spider-man,” “Water For Elephants.” and “Gulliver’s Travels.

Today on Art of the Cut we speak with the editing team of the Star Wars TV series, Ahsoka: (alphabetically, they are) Dana E. Glauberman, ACE, Rosanne Tan, ACE, and James D. Wilcox, ACE. 

Dana was nominated for an ACE Eddie Award for her work on Ahsoka, Part Four: Fallen Jedi. She also has received Eddie nominations for multiple feature films, as well as for The Mandalorian, for which she was also nominated for a Primetime Emmy Award. Dana’s been on Art of the Cut for Ghostbuster’s Afterlife, Creed 2,  and The Mandalorian. 

Rosanne’s credits include Homecoming - for which she was nominated for an ACE Eddie, Mr. Robot, for which she was nominated for two ACE Eddies, Seven Seconds, Hawkeye, and The Falcon and the Winter Soldier. Rosie was on Art of the Cut for her work on The Falcon and the Winter Soldier.

James is an ACE Eddie winning editor for his work on Einstein: Chapter One, of the Genius TV series.

He’s been on Art of the Cut for two of Ron Howard’s feature films, Thirteen Lives and Hillbilly Elegy. He’s also cut TV series including CSI: Miami, Hawaii Five-0, and Roots.

You can follow along with the transcript and great visual support on BorisFX's blog of this podcast.

borisfx.com/blog/aotc.

Jonathan Redmond and Matt Villa discuss their editing of the Baz Luhrmann film, "Elvis."

Jonathan has edited the film “The Great Gatsby” and the TV series including The Get Down, Wonders of Australia’s National Parks, Romeo & Juliet: A Monkey’s Tale, and Pelicans of the Ghost Lakes. He was also First Assistant Editor on Moulin Rouge.

Matt Villa has edited features including The Great Gatsby, Peter Rabbit 2, Winchester, and Predestination. He was also an additional editor on the Lego Batman Movie, The Lego Movie 2, Happy Feet 2 and Australia.

Art of the Cut host, Steve Hullfish interviews the editors of the HBO TV series, "Winning Time." The series chronicles the building of the LA Lakers Dynasty team, starting with the season Magic Johnson was drafted. The editors for the series are (in alphabetical order) Oscar-nominee Hank Corwin, ACE, Jessica Hernandez, ACE, Max Koepke, Felicia Livingston, and Jeremy Weinstein. Juliana Rodzinski also edited the show, but couldn’t join the call.

Hank Corwin, ACE is an Academy Award nominee, ACE Eddie Winner and BAFTA winning editor. He’s edited or co-edited six films that have been Academy Best Picture nominees, including JFK, The Tree of Life, Moneyball, The Big Short, Vice and Don’t Look Up. Most recently I interviewed him for his Oscar nomination for Best Editing for Don’t Look Up, directed by the Adam McCay, who was also a director on Winning Time.

Jessica Hernandez, ACE has also been a guest on Art of the Cut before for her work on A Black Lady Sketch Show for which she won an Emmy and was nominated for an ACE Eddie. She’s also an editor on the TV series Shining Girls and numerous films and TV series. She’s also won a Peabody Award.

Max Koepke was an additional editor on Mile 22, which we featured on Art of the Cut. He also cut the feature Payback and has worked on numerous videos for bands such as U2, Pearl Jam and Bon Jovi.

Felicia Livingston is a previous Art of the Cut guest, for her work on the TV series All American. Other TV series include The Red Line and The Flash.

Jeremy Weinstein has been an assistant editor on numerous projects, including VICE and steps up to the editor’s chair for Winning Time. He also edited the feature film Binti.

An interview with Anthony Greenberg, the editor of PIXAR's "Lightyear." PIXAR's storytelling abilities are legendary, and in animation the editor is front and center in that process. Animation editing is a very different animal than live-action film editing. Anthony discusses the process of crafting "Lightyear" over a period of four years. He shares his storytelling sensibilities and process and much more in this interview.

Today, on Art of the Cut, we’re speaking with the editor of this year’s Academy-award winner for Best Picture CODA. I think we can all agree that you can’t have a Best Picture winner without also having a beautifully edited film, so I’m excited to share my discussion with its editor, Géraud Brisson, ACE.

Géraud was born and raised in France - south of Lyon. He came to the States and graduated USC Film School with an MFA. In addition to CODA, Géraud has edited the feature films Camp X-Ray, and Big Sur, which were both official selections for the Sundance Film Festival. He’s also edited TV series, including This Close, Counterpart, Looking and Little America - which is where he met CODA’s director, Siân Heder.

Steve Hullfish interviews Oscar-winning editor, Mark Sanger, ACE about the editing of Jurassic World: Dominion. 

Mark discusses things like rhythm, pacing, structure and editing a dinosaur movie as if it's a James Bond/Jason Bourne movie. Also, why to immediately watch your films in reels instead of just as scenes - getting a correct sense of the rhythm and pace of the overall movie.

Eddie Hamilton, ACE takes you on a deep dive into the thought process of editing Top Gun Maverick and the challenges that he faced to complete this monumental editing task. Learn his tips for tricky editing situations and find out how he collaborated with additional editors Stephen Mirrione, ACE and Chris Lebenzon, ACE (who was one of the editors on the ORIGINAL Top Gun!) There's a ton of great content here. And if you want visuals with this conversation, check out https://borisfx.com/aotc. Also, PLEASE show some love to our sponsors. They have deals for you! Visit Borisfx.com for BORISFX, Sapphire, MochaPro and more - including blog content for filmmakers. Contact evercast.us and let them know you heard about their service and want to check it out. You'll save lots of money off your starting subscription price if you mention Art of the Cut. And go to jumpdesktop.com/cut for a free 14 day trial.

Today on Art of the Cut we speak with Oscar-winning editor, Mark Sanger, ACE and editor Billy Rich about editing the Apple TV + series, Masters of the Air.

Mark’s been on Art of the Cut since we chatted about his Oscar-winning film, Gravity, more than a decade ago. We’ve also discussed editing Jurassic World Dominion, Transformers: Last Knight, and Pokemon, Detective Pikachu.

Billy Rich has edited features including Ghost in the Shell, Exodus: Gods and Kings, and Promised Land. And TV including Death and Other Details and Raised by Wolves.

You can follow along with this podcast and the transcript at

borisfx.com/blog/aotc

With the transcript that are clips and great visual support for the interview.

Today on Art of the Cut we speak with editor Melissa Kent, who has been a guest of the show before for her movie Traffik, and she’s back with us to discuss the feature film Musica which is currently available on Amazon Prime.

Melissa’s other work includes the feature films The Age of Adaline, The Virgin Suicides, The Dirt, The Intruder, The Sisterhood of the Traveling Pants 2, and she BEGAN with Francis Ford Coppola’s The Rainmaker. She has also cut TV including Robin Roberts Presents: Mahalia, the TV movie A Raisin in the Sun, and Netflix’s American Son.

Be sure to read along - with exclusive behind the scenes images - at

borisfx.com/blog/aotc

Today on Art of the Cut we speak with a familiar guest of the podcast and also we get the unique opportunity to speak with the director of the film, We Grown Now.

Editor Stephanie Filo, ACE, has been on Art of the Cut to talk about her Emmy and ACE-winning work on A Black Lady Sketch Show and about her Emmy-nominated work on Dahmer: Monster - the Jeffrey Dahmer Story and History of the World Part II. Stephanie has also won an Emmy and a Peabody Award for her documentary editing work, and was nominated for an Independent Spirit Award for her work on We Grown Now.

Minhal wrote and directed We Grown Now for which she won the Toronto International Film Festival's Changemaker award, and was nominated for Best Feature for an Independent Spirit Award. She also wrote and directed her previous feature, Hala which was nominated for the Grand Jury Prize at Sundance.

Be sure to follow along with this podcast on our blog at

borisfx.com/blog/aotc, which has lots of great visuals including timeline screenshots and exclusive photos from post.

Today on Art of the Cut we speak with the editors of the Apple TV Plus series, Foundation, based on Isaac Asimov’s sci-fi trilogy. On the call today are Paul Trejo, ACE, Miklos Wright, ACE, Emily Greene, ACE, Sidney Wolinsky, ACE, and Olivia Wyrick.

Paul Trejo has cut TV series including Black Sails, Carnival Row, Tom Clancy’s Jack Ryan and Locke and Key. He was also the sound editor on Scarface and The Cotton Club.

Miklos Wright edited Open Range, Mr. Brooks, Luke Cage and 3000 Miles to Graceland. He’s currently cutting Kevin Costner’s western series, Horizon.

Emily Greene edited the TV series Mrs. America, Carnival Row, American Crime Story, and the pilot of The Rookie.

Sidney Wolinsky has been on Art of the Cut previously for his work on Greyhound,  Guillermo del Toro’s The Shape of Water, and The Sopranos. His other work includes Boardwalk Empire, House of Cards, and The Walking Dead.

Olivia Wyrick, as you will hear, recently moved into the editing chair for Foundation after working as an assistant on the show and as an assistant or on-line editor for shows like The Walking Dead, Fear the Walking Dead, The Mentalist, and Spider-Man Apprentice.

Also, you can follow along with this podcast by reading the blog, which has lots of great visual support materials!

borisfx.com/blog/aotc/

Today on Art of the Cut we speak with editor Elisabet Ronaldsdottir, ACE and her first assistant editor, Matt Absher about The Fall Guy. 

Elisabet has been on Art of the Cut for many of her big action, stunt spectaculars, including the first John Wick, Atomic Blonde, Shang Chi and the Legend of the Ten Rings, and Bullet Train. She's been nominated for ACE Eddies for her work on Deadpool 2 and Kate.

Matt Absher has been a first assistant editor on Shang-Chi and the Legend of the Ten Rings, Deadpool 2, Nope, Us, Atomic Blonde and John Wick. He was also an assistant editor on Oceans 12 and 13.

Be sure to read along and check out all the great visuals - including timeline screenshots and exclusive photos at

borisfx.com/blog/aotc.

Today on Art of the Cut we’re talking with some of the editors of Netflix’s sci-fi series, 3 Body Problem. With us for today’s interview are Anna Hauger, ACE, Michael Ruscio, ACE and Simon Smith, ACE. Katie Weiland was also an editor on the show but was unable to join us.

Anna’s credits include Westworld, Station Eleven, and Watchmen.

Michael’s credits include the TV series True Blood, Altered Carbon, Six Feet Under, and House of Cards.

Simon has been on Art of the Cut previously for his ACE Eddie winning work on Chernobyl and his ACE Eddie winning work on Andor. His other credits include the feature film Spaceman.

Don't forget that you can read along and get timeline screenshots, screenshots of bins, ScriptSync pages and trailers at:

borisfx.com/blog/aotc.

Today on Art of the Cut we’re talking with two of the editors of the epic FX Network series, Shogun. With us today are Aika Miyake and Maria Gonzales. Thomas Krueger also edited the series but was unable to join us.

Aika is originally from Japan, where she cut mostly TV spots. Her other work includes Chef’s Table: BBQ, the documentary, Hafu: The Mixed-Race Experience in Japan, and additional editing on the feature Black is King.

Maria’s credits include TV series including The Walking Dead, Counterpart, See, and The Old Man.

Today on Art of the Cut we’re talking with one of the editors of the Netflix mini-series, Griselda. Kelly Stuyvesant joins us for this conversation. The other editors on the series are Joaquin Elizondo and Christopher Cavanaugh.

Kelly’s credits include work on Agents of SHIELD, Helstrom, and The Sandman. 

Don't forget to follow along with this podcast on Boris FX's blog, the transcribed interview is available with trailers, clips, timeline screenshots and all kinds of great material,

borisfx.com/blog/aotc

Today, we’re talking with Zsófia Tálas, who was recently nominated for an Emmy for her episode of the drama, Slow Horses - available on Apple TV Plus.

Zsófia’s other work includes the BBC TV series A Good Girl’s Guide to Murder, SkyTV’s The Midwich Cuckoos, and Hulu’s Brassic. She’s also cut feature films including Bad Poems, The Cabin, and Unwelcome.

Check out the Art of the Cut blog where there are trailers, stills and exclusive images - including a timeline of the show

borisfx.com/blog/aotc

Today on Art of the Cut we’re talking with one of the ACE Eddie winning editors of “Escaping Twin Flames,” which won the Eddie for Best Edited Documentary, non-theatrical.

Inbal Lessner was the Executive Producer and Supervising editor. We last spoke with Inbal for Seduced: Inside the NXIVM Cult “Exposed” which was nominated for an ACE Eddie in 2021.

Her other work includes the documentary,  Brave Miss World, and work on CNN’s series of “decade” defining documentaries - for which she was nominated for an ACE Eddie.  In addition to her documentary work, she was an additional editor on Natalie Portman’s directorial debut, A Tale of Love and Darkness. 

Follow along with the transcript and great visuals, including trailers, clips, timeline screenshots and more at:

borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking to the winner of the Indie Spirit Award for Best Editing: Daniel Garber, about his work on the film How to Blow up a Pipeline.

Daniel’s other work includes the feature film, Cam - which was also a collaboration with his “Pipeline” director, Daniel Goldhaber. Daniel has also worked in documentary editing on films like Some Kind of Heaven, and the documentary series, Naomi Osaka. He was also an additional editor on the Sundance documentary Riotsville, USA, which we featured on Art of the Cut several years ago.

Don't forget that you can read along with the podcast at borisfx.com/blog/aotc, where there are great timeline screenshots, images of the Premiere Productions set-up, trailers and clips!

Today on Art of the Cut, we’re talking about Ghostbusters: Frozen Empire with editors Nathan Orloff and Shane Reid.

Nathan’s been a guest on Art of the Cut a few times including for the last Ghostbusters - Afterlife, and also for John Wick 4.

Shane Reid is coming from the world of TV spot editing - as you’ll hear in the interview and music videos. He’s really starting off his feature film career with this film and - amazingly - another in just a few months - Deadpool & Wolverine.

Today on Art of the Cut, we’re talking with producer and editor Michelle Mizner about the film “20 Days in Mariupol.” It won the Sundance Audience Award, a DGA Award, a BAFTA Award, and the Oscar for Best Documentary Feature. Michelle was also nominated for an ACE Eddie and won a BFE Award for her editing of the film. 

Michelle is a Sundance and Emmy award-winning documentary film editor and producer who is on staff at FRONTLINE PBS. Her other editing work includes. PUTIN’S ATTACK ON UKRAINE: 

DOCUMENTING WAR CRIMES, the PLOT TO OVERTURN THE ELECTION, INSIDE YEMEN, and THE LAST GENERATION.

You can read this interview along with great visual support of trailers, film clips, photos, timelines and more at

borisfx.com/blog/aotc/

Today on Art of the Cut, we’re talking with Oscar winner, Joe Walker, ACE. I interviewed Joe in person just before the ACE Eddies at his home on a rainy Los Angeles day… you may hear some of that in the background.

Joe was one of the very first Art of the Cut guests on March 18th, 2014 - a decade ago - when he was nominated for an Oscar, a BAFTA and an ACE Eddie for his editing of 12 Years a Slave. Since then we’ve talked about his work on Sicario - another ACE Eddie nomination - Arrival - BAFTA and Oscar nominations and an ACE Eddie win - Bladerunner 2049 - BAFTA and ACE Eddie nominations -, then Widows, then Dune - for which he was nominated for a BAFTA and an ACE Eddie and won the Oscar - , then, most recently we talked when he cut The Creator, and now - Dune 2. Eight great discussions that you should go back and have a listen to!

Joe has a lovely ability to edit instinctively, but be able to explain where that instinct is coming from, plus, you just want to grab a beer or a cup of tea and listen - just to feel part of a great, fun conversation.

Today on Art of the Cut, we’re talking with multi-Oscar winner, Walter Murch, ACE. I interviewed Walter in person just before his appearance at the 2024 ACE Eddie Awards to receive his Career Achievement Award - an award which was presented by his long-time friend and collaborator, George Lucas.

Murch's career is filled with cinematic cultural touchstones.

He was nominated for an Oscar for sound and won BAFTAS for both sound and editing on The Conversation. He was nominated for a BAFTA and an Oscar for editing Julia. For Apocalypse Now, he was nominated for an Oscar for Editing, BAFTAs for editing AND sound, an ACE Eddie … and won the Oscar for sound. In 1991 he was nominated for Oscars for both The Godfather Part II AND Ghost, and was nominated for an ACE Eddie for Ghost. For The English Patient he was nominated for a BAFTA for sound, and won a BAFTA for editing, not to mention winning an ACE Eddie and TWO Oscars for sound AND editing. He was nominated for an ACE Eddie for The Talented Mr. Ripley. He was nominated for two BAFTAs - for sound and editing - and for an ACE Eddie and an Oscar for “Cold Mountain.” He was nominated for an Emmy for “Hemingway and Gelhorn,” for which he ALSO won an ACE Eddie.  

On top of all of this, he has been writing a book on filmmaking - actually two volumes! - with the first volume releasing later this year, focusing on editing and sound, and the second volume coming next year. Most of the following interview focuses on the thoughts and concepts outlined in that book, which is called “Suddenly Something Clicked.”

This very special episode happens to be the 10th anniversary episode of Art of the Cut! 10 years... nearly 500 interviews.

There is a TON of great visual content in the accompanying blog. Please listen to the podcast and follow along with the transcript at borisfx.com/blog/aotc. Many photos of Murch at the Moviola, clips from the films we discuss and more.

Today on Art of the Cut, we’re talking with two of the three editors of Matthew Vaughn’s comedy/action film, Argylle.

Joining us for today’s discussion are Tom Harrison-Read and Oscar-winning editor Lee Smith, ACE.

Lee’s been on Art of the Cut several times including for Dunkirk, 1917, Dark Phoenix, and Spectre. Lee was nominated for a BAFTA for The Piano, for an Oscar and an ACE Eddie for Master and Commander. Nominated for an Oscar, a BAFTA, and an ACE Eddie for The Dark Knight. Nominated for a BAFTA and an ACE Eddie for Inception. And he was nominated for a BAFTA and won an Oscar and an ACE Eddie for Dunkirk.

Tom has edited Tomb Raider, In Darkness, and Children of the Corn. He’s also been an assistant editor or additional editor on lots of major tentpole films, including Wonder Woman 1984, Rogue One: A Star Wars Story, Mission: Impossible - Rogue Nation, Captain Phillips, Scott Pilgrim vs. the World, and Quantum of Solace.

Make sure to check out the transcribed version of this interview with lots of great images and video - heck, you can read it AND listen at the same time - at borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with the editors of the ACE Eddie nominated documentary, American Symphony.

Sammy Dane steps into the edit chair for the first time. His previous films include assistant editing on After Shock, The Boy From Medellin, 16 Bars, and Hip Hop, the Songs that Shook America. 

Jim Hession has cut Marina Amramovic: The Artist is Present, the TV series The Deep End, Philly D.A., and David Blaine: The Magic Way.

And Fernando Villegas has cut HBO Boxing, Golden, The Journey of USA’s Elite Gymnasts, and After Jackie.

The film’s director - Matthew Heineman - is also credited as an editor on the film.

Today on Art of the Cut, we’re talking with editor Laurent Sénéchal who is nominated for an Oscar for Best Editing and an ACE Eddie for his work on the Oscar Best Picture nominee, Anatomy of a Fall. His previous work - for the last nearly 20 years - has been in French and European TV and features.

Today on Art of the Cut, we’re talking with editor Keith Fraase, about the Oscar Best Picture nominated film, “Past Lives.” Keith is also nominated for an ACE Eddie for Best Edited Dramatic Feature for the film.

Keith’s past work includes the feature films: Knight of Cups, To the Wonder, Chappaquiddick, and Song to Song. 

There's a lot of great exclusive and personalized visual content - timelines, screenshots of bins, WFH set-ups, etc. - on the blog, so you can read along there! borisfx.com/blog.aotc

Today, we’re talking with Dean Zimmerman, ACE and Shane Reid about editing Deadpool and Wolverine.

Dean’s been on Art of the Cut before to discuss the projects: Free Guy, All the Light We Cannot See and Stranger Things, for which he won an Emmy, was nominated for two others, and an ACE Eddie. His other work includes The Darkest Minds, Jumper and Night at the Museum: Battle of the Smithsonian. Dean’s been working on the next season of Stranger Things.

Shane Reid was previously on Art of the Cut for his editing of Ghostbusters: Frozen Empire. He also edited the feature, One More Time with Feeling and is currently cutting the new Saturday Night Live feature film, due out in October of 2024.

Be sure to follow along with this podcast by checking out the blog where you can see great custom images, trailers, clips and more:

borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with editors Geraud Brisson, ACE, and Daniel Martens about their ACE Eddie nomination for their episode - the finale of Lessons in Chemistry. The series was also edited by Matthew Barbato, Laura Zempel, ACE, Jack Cunningham, and Lilly Wild.

Geraud was previously a guest on Art of the Cut to discuss CODA when it won the Oscar for Best Picture. His other projects include Camp X-Ray and the TV series Counterpart. He’s currently editing the TV series Shogun.

Daniel edited the feature Katie’s Mom and episodes of the TV series Suits. He was an additional editor on the feature Captive and the TV series New Amsterdam.

Today on Art of the Cut, we’re talking with editor Jon Poll, and additional editor, Kheireddine El-Helou. They’ve joined us to talk about The Color Purple.

Jon’s credits include Father of the Bride, Bombshell, The Greatest Showman, Meet the Fockers, and Austin Powers: The Spy Who Shagged Me, among many others.

Kheireddine has also been an additional editor on films like Father of the Bride and Blackhat, assistant editor on Power Rangers and Muppets Most Wanted, among others.

If you want to read along and have access to great visual and multi-media support for this episode, check out borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Hilda Rasula, ACE, about editing “American Fiction” which won the AFI’s Movie of the Year Award and was nominated for a Spirit Award, a Critic’s Choice award, a Golden Globe and the PGA for best picture and could be on the list for the Oscar.

Hilda’s previous features include Moving On, Vengeance, French Exit and the TV series, Our Flag Means Death, among many other projects.

Don't forget to follow along with the transcription which includes lots of great images and video clips and trailers at borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with Yorgos Mavropsaridis, ACE, the editor of Oscar-shortlister, Poor Things.

Yorgos was an ACE nominee for The Lobster. He was nominated for a BAFTA and an Oscar and won the ACE Eddie for The Favourite. In addition he’s edited The Killing of a Sacred Deer, and has over 100 international film credits. Yorgos was a previous guest on Art of the Cut for The Favourite.

There are great clips and timeline screenshots and trailers available, so if you want, you can read along with the podcast at borisfx.com/blog/aotc!

Today on Art of the Cut, we’re talking with  Oscar-winning editor, Pietro Scalia, ACE about editing Michael Mann’s Ferrari.

Scalia won the Oscar and an ACE Eddie for JFK. Was nominated for an Oscar and an ACE Eddie for Good Will Hunting.  Won a BAFTA and an ACE Eddie and was nominated for an Oscar for Gladiator. Won an Oscar and an ACE Eddie and was nominated for a BAFTA for Black Hawk Down. Nominated for another BAFTA for American Gangster. And was nominated for a BAFTA and an ACE Eddie for The Martian.

Pietro has been on Art of the Cut before to discuss his work on The Martian and Alien Covenant. Pietro’s other work includes Solo: A Star Wars Story, and The Amazing Spider-Man 1 and 2.

Today on Art of the Cut, we’re talking with  BAFTA nominee, Mark Everson, about editing Wonka.

Mark has edited both of the Paddington movies, Dora and the Lost City of Gold, and Johnny English Strikes Again. His TV work includes Tracey Ullman’s Show, The Toast of London, and his BAFTA nomination for The Mighty Boosh.

Please check out the transcribed interview - with visuals - at borisfx.com/blog/aotc

Today on Art of the Cut, we’re talking with  Emmy and ACE Eddie winning editor, Michelle Tesoro, ACE about editing Bradley Cooper’s Maestro.

Michelle won an Emmy and an ACE Eddie for editing Queen’s Gambit. 

She also edited the feature films Flag Day and On the Basis of Sex. And TV series including Fringe, House of Cards, When They See Us, and Ballers.

Today on Art of the Cut, we’re talking with Oscar-winning editor Zach Staenberg, ACE about editing John Woo’s latest film, “Silent Night.” 

Zach won an Oscar and an ACE Eddie for original Matrix film. He’s also been nominated for an Emmy and won an ACE Eddie for “Gotti.” His other work includes Ava, Pacific Rim: Uprising, Speed Racer, Matrix Reloaded, Matrix Revolutions. and Police Academy.

If you want to read this interview with visual support, check out borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with Oscar-winner, Claire Simpson and Sam Restivo about editing Ridley Scott’s “Napoleon.”

Claire won an Oscar, a BAFTA, and an ACE Eddie for editing Platoon. She won a BAFTA and was nominated for an Oscar and an ACE Eddie for The Constant Gardner. Other films include Nine, Wall Street, and The Last Duel. 

Sam Restivo has been an additional editor on several films including The Greatest Showman, The Last Duel and House of Gucci. He was also an additional editor on the TV series Raised By Wolves.

Don't forget to READ this interview with great visual support at borisfx.com/blog/aotc.

Today on Art of the Cut, we’re talking with Kevin Tent, ACE, about his long-time collaboration with director Alexander Payne and their latest film, “The Holdovers.”

Kevin’s been on Art of the Cut before for his last Alexander Payne collaboration, “Downsizing” and for “The Peanut Butter Falcon.” Kevin has been nominated for numerous ACE Eddies for his work on Election, About Schmidt, Sideways and Nebraska. He also won an ACE Eddie and was nominated for an Oscar for his work on The Descendants. 

Want to feast your EYES as well as your ears? Read this and get great trailers and clips from the movie at borisfx.com/blog/aotc