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Editors – Chris Chandler and Devin Dulany

The Musical editors Chris Chandler and Devin Dulany discuss cutting a dark comedy that turns professional frustration, romantic jealousy and middle-school theater into an increasingly elaborate act of revenge. For Devin, the project began years earlier when he edited the original AFI short that eventually became the feature, while Chris brought a background in comedy that includes Curb Your Enthusiasm, Dave and Blindspotting.

Directed by Giselle Bonilla and written by Alexander Heller, The Musical stars Will Brill as Doug Leibowitz, a frustrated playwright working as a middle-school theater teacher while dreaming of a more important career in New York. When Doug discovers that his ex-girlfriend Abigail, played by Gillian Jacobs, has begun dating his nemesis, Principal Brady, played by Rob Lowe, he decides to sabotage Brady's pursuit of a prestigious Blue Ribbon award by secretly replacing the school's planned production of West Side Story with an original musical designed to create the worst possible publicity for everyone involved.

The film began as an AFI Conservatory short before Bonilla, Heller and several members of their original filmmaking team expanded the idea into their first feature. Devin edited that original short and returned for the feature, while Chris joined the team as both editor and post producer. The movie premiered in the U.S. Dramatic Competition at the 2026 Sundance Film Festival before receiving a nationwide theatrical release.

In our conversation, Chris and Devin talk about expanding a premise that worked at short-film length into a feature, maintaining the movie almost entirely through Doug's increasingly distorted point of view, and finding the right editorial balance for a protagonist whose commitment to his own grievances is essential to the comedy. They also discuss working with Will Brill's intensely serious performance, preserving the sincerity of the young cast, building the escalating revenge plot, and holding back enough of the school production to make the final performance deliver on everything the film has been promising.

CHRIS CHANDLER

Chris Chandler is an editor whose credits include The Musical, Blindspotting, Dave and Curb Your Enthusiasm. His work spans comedy, music-driven storytelling and character-focused television and feature filmmaking. Chris received an ACE Eddie Award nomination alongside Roger Nygard, ACE for the Curb Your Enthusiasm Season 11 finale, "The Mormon Advantage." In addition to editing The Musical, Chris served as the film's post producer, helping guide the project through an abbreviated post-production schedule leading into its Sundance premiere.

DEVIN DULANY

Devin Dulany is an editor and filmmaker whose work includes The Musical and the AFI short on which the feature was based. An alumnus of the AFI Conservatory's Editing program, Devin was part of the original group of filmmakers who developed the project during their time at AFI and later reunited to expand it into a feature. Before attending AFI, Devin worked professionally in editorial in New York and Los Angeles, cutting commercials, trailers, documentaries and narrative projects while also developing his own work as a director and cinematographer.

The Credits

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Hear Chris discuss his work on the Starz series BLINDSPOTTING.

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Editor – Phil Hignett

Finding Emily editor Phil Hignett returns to The Rough Cut to discuss cutting a romantic comedy built around music, timing, chemistry and the difficult balance between letting a joke land and giving a relationship enough space to feel real. Working with director Alicia MacDonald, Phil helped shape a film that draws on the pleasures of the classic British rom-com while giving the genre a younger, more contemporary point of view.

Directed by Alicia MacDonald and written by Rachel Hirons, Finding Emily stars Spike Fearn as Owen, a musician and sound engineer who becomes determined to find a woman named Emily after discovering that the phone number she gave him is missing a digit. His search leads him to Emily Raine, played by Angourie Rice, an American psychology student who agrees to help him while secretly using his increasingly elaborate search as material for her academic work.

As Owen's quest spreads across campus and begins attracting attention, the relationship developing between the two of them becomes far more important than the person he originally set out to find. Music is central to the identity of the film, from Owen's own musical life to the Manchester setting and a soundtrack that helps establish the rhythm and emotional tone of the story. In our conversation, Phil talks about cutting comedy and romance within the same scene, shaping the chemistry between Owen and Emily, working with fast overlapping dialogue, using music as an editorial engine, and knowing when a two-shot or a held reaction can say more than another cut.

The discussion also gets into some of the film's more unusual editorial challenges, including the way Owen's search spreads through social media, the large number of Emilys who become part of the story, the balance between making Owen's behavior feel romantic and allowing the audience to question it, and the film's distinctive use of music during some of its biggest emotional moments.

PHIL HIGNETT

Phil Hignett is an editor whose credits include Finding Emily, Sex Education, Stath Lets Flats, Wedding Season, Renegade Nell and Am I Being Unreasonable? His work spans television, features and commercial editing, with a particular emphasis on comedy, performance and the precise timing required to balance humor with character. Phil began his career in commercial editorial before moving into long-form work, eventually collaborating with filmmakers including Ben Taylor and Alicia MacDonald. His work on Sex Education was recognized with a BFE Cut Above Award for Best Edited Series: Comedy, shared with fellow editors Steve Ackroyd, David Webb and Izabella Curry.

The Credits

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Hear Phil discuss his work on season three of SEX EDUCATION.

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Editor – John Axelrad, ACE

The End of Oak Street editor John Axelrad, ACE returns to The Rough Cut to discuss cutting a science-fiction thriller that takes an ordinary suburban family and abruptly removes every familiar rule of the world around them. Working with writer-director David Robert Mitchell, John had to balance large-scale spectacle and mystery with a story that remains grounded in the relationships between the members of one family.

Written and directed by David Robert Mitchell, The End of Oak Street begins when a mysterious cosmic event rips an entire suburban neighborhood from its surroundings and transports it to someplace unknown. The Platt family soon realizes that understanding where they are may be less immediately important than simply surviving, forcing them to depend on one another as the familiar streets and homes around them become increasingly dangerous and unrecognizable. 

JOHN AXELRAD, ACE

John Axelrad, ACE is an editor whose credits include Ad Astra, The Lost City of Z, Papillon, Antebellum, Chevalier, Spaceman, Krampus, Crazy Heart, Two Lovers and We Own the Night. A graduate of the USC School of Cinema-Television, John began his career in assistant editorial before moving into the editor's chair and has worked across science fiction, drama, horror and historical filmmaking. He is also an active mentor to emerging editors through organizations including American Cinema Editors and the Academy Gold program.

The Credits

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Spider-Man: Brand New Day

Editors – Nat Sanders, ACE; Harry Yoon, ACE and Gina Sansom

Spider-Man: Brand New Day editors Nat Sanders, ACE, Harry Yoon, ACE and Gina Sansom join The Rough Cut to discuss helping director Destin Daniel Cretton take Peter Parker into a deeper, more grounded chapter of his story. Nat and Gina began the film together during production, with Harry joining them for the director's cut, bringing together three editors who had each previously collaborated with Destin on projects ranging from Shang-Chi and the Legend of the Ten Rings to Wonder Man.

Directed by Destin Daniel Cretton, Spider-Man: Brand New Day finds Peter Parker (Tom Holland) fighting crime full-time as Spider-Man in a world that no longer remembers him. As Peter watches MJ (Zendaya) and Ned (Jacob Batalon) continue their lives without him, the pressure of his isolation begins to trigger a transformation he may not be able to control. At the same time, a new threat emerges in New York, drawing Peter into a conflict that also brings him together with Frank Castle / The Punisher (Jon Bernthal), Bruce Banner / Hulk (Mark Ruffalo) and Jean Grey (Sadie Sink). The film also stars Tramell Tillman and Michael Mando.

For Nat, Brand New Day continues a long creative relationship with Cretton that stretches back to Short Term 12 and includes The Glass Castle, Just Mercy and Shang-Chi. Harry previously worked with Cretton and Nat on Shang-Chi, while Gina came to the film following collaborations with Cretton on American Born Chinese and Wonder Man. Brand New Day also marks Gina's first feature as an editor.

In our interview, Nat, Harry and Gina discuss dividing the film between three editors, working in close proximity to production at Pinewood Studios, shaping Peter Parker's darker and more emotionally complex story, and using previews to test radically different versions of the film. They also talk about finding the right balance between practical action and visual effects, managing the reveal and evolution of Jean Grey, preserving Peter's emotional point of view in his scenes with MJ and Ned, and collaborating with composer Michael Giacchino as the film developed through post.

NAT SANDERS, ACE

Nat Sanders, ACE is an Academy Award-nominated editor whose credits include Moonlight, If Beale Street Could Talk, Short Term 12, Shang-Chi and the Legend of the Ten Rings, The Glass Castle and Just Mercy. A longtime collaborator of director Destin Daniel Cretton, Nat has worked with him from independent character dramas through large-scale studio filmmaking. Nat received an Academy Award nomination alongside Joi McMillon for editing Moonlight and has twice won the Independent Spirit Award for Best Editing.

HARRY YOON, ACE

Harry Yoon, ACE is an editor whose feature credits include Minari, Shang-Chi and the Legend of the Ten Rings, Thunderbolts*, The Fire Inside, The Last Black Man in San Francisco, First Man and Detroit. Harry's work spans intimate character dramas and large-scale action films, with a particular focus on maintaining performance and emotional point of view within complex visual storytelling. Spider-Man: Brand New Day reunites him with Destin Daniel Cretton and Nat Sanders following their work together on Shang-Chi.

GINA SANSOM

Gina Sansom is an Emmy-nominated editor whose television credits include Wonder Man, Our Flag Means Death, American Born Chinese, Reservation Dogs, Silicon Valley, Better Things, Love and Horace and Pete. She received an Emmy nomination for her work on Horace and Pete. After previously collaborating with Destin Daniel Cretton on American Born Chinese and Wonder Man, Gina makes her feature editing debut with Spider-Man: Brand New Day.

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Hear Nat and Harry discuss their first Marvel collaboration with Destin Daniel Cretton on SHANG-CHI AND THE LEGEND OF THE TEN RINGS.

Listen to Harry talk about cutting Lee Isaac Chung's Oscar®-nominated film MINARI.

Hear Harry discuss his return to the MCU with THUNDERBOLTS*.

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Editor – Payton Koch

For Avatar: The Last Airbender editor Payton Koch, this job offered a very different kind of editorial challenge from his Emmy-nominated work on Only Murders in the Building. The series has to move between large-scale action, visual effects, martial arts, comedy, mythology and coming-of-age drama, often within the same sequence. It also has to satisfy a fanbase that knows this world extremely well while still making the story accessible to viewers coming to it for the first time.

Based on the Nickelodeon series created by Michael Dante DiMartino and Bryan Konietzko, Avatar: The Last Airbender is set in a world divided into four nations — Water, Earth, Fire and Air — where certain people can "bend," or control, one of those elements. At the center of the story is Aang, the last surviving Air Nomad and the next Avatar, the one person capable of mastering all four elements and restoring balance to a world at war. Season Two takes Aang, Katara and Sokka deeper into the Earth Kingdom as they search for an earthbending teacher and make their way toward Ba Sing Se, the massive, heavily fortified capital of the Earth Kingdom. Along the way, the series expands its world with new allies, new enemies and a larger sense of the political and emotional cost of the Fire Nation's war.

PAYTON KOCH

Payton Koch is an Emmy-nominated picture editor with a diverse range of post-production credits on popular television series, including American Horror Story, Ratched and Only Murders in the Building. His work on the Hulu comedy series Only Murders in the Building earned him multiple ACE Eddie Award nominations, as well as his first Primetime Emmy nomination in 2024. His additional credits include American Crime Story, The Politician, Home Before Dark, Just Beyond and The Boys in the Band.  



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Editor – Greg Ng

BACKROOMS editor Greg Ng joins The Rough Cut to discuss cutting a film built around liminal spaces, analog horror, slow-burn tension and the challenge of turning an internet-born phenomenon into a feature-length cinematic experience.

Directed by Kane Parsons, BACKROOMS expands on the world Parsons first created through his viral YouTube videos, where endless yellow corridors, fluorescent hums, distorted VHS textures and uncanny architecture became the foundation for a very specific kind of dread. The feature stars Chiwetel Ejiofor as Clark, a furniture store owner whose discovery of a strange passageway pulls him into the Backrooms.  Co-starring with Ejiofor is Renate Reinsve as Mary, his therapist, whose role in the story grows increasingly central as the film moves deeper into questions of memory, perception and psychological uncertainty.

One of the biggest challenges was finding the right editorial language for a film where the space itself often functions as a main character. Greg discusses how the film's pacing intentionally allows characters to move through the Backrooms in near real time, preserving the hypnotic quality of Kane's original work. Rather than cutting quickly from one dramatic beat to the next, the edit often lets the audience remain inside the space long enough for the atmosphere, sound and uncertainty to take hold.

GREG NG

Based out of Vancouver, British Columbia. Greg tries to maintain a balanced diet of both narrative and documentary editing, and periodically writes about himself in the third person. He is an alumnus of the Canadian Film Centre and a member of the Canadian Cinema Editors, ACFC, IATSE, the VPA, and other organizations with acronyms. When his nephew asked him what editing movies was like, he said it's just like playing with Legos, but with videos and emotions instead. In addition to these biographical details, Greg has won several awards for editing, which have validated his professional insecurities and made him feel warm and fuzzy inside. Some recent credits include LONGLEGS, THE MONKEY, and KEEPER.

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Editor – Greg O'Bryant

Tuner editor Greg O'Bryant returns to the podcast to discuss cutting a film that is part crime thriller, part romance, part character study, part music movie and part very compelling argument for keeping your ears covered in New York City.

Directed by Academy Award-winning documentary filmmaker Daniel Roher, Tuner stars Leo Woodall as Niki, a gifted piano tuner whose hypersensitive hearing makes every day sound almost unbearable. That same extraordinary hearing also gives Niki an unexpected talent for cracking safes, pulling him from a quiet life of tuning pianos into an increasingly dangerous criminal world. The film also stars Dustin Hoffman as Harry, Niki's mentor, Havana Rose Liu as Ruthie, a young composer, along with Lior Raz, Jean Reno and Tovah Feldshuh.

One of the biggest challenges on Tuner was the sheer amount of footage. Roher shot a large volume of material over a short production schedule, giving Greg and his assistant a mountain of performances, musical material, safe-cracking details and improvisation to shape into the final film. Greg discusses how he approached that process by focusing on subjectivity — using the edit to put the audience inside Niki's experience rather than simply moving through the plot.

Sound was another major topic of conversation. Because Niki experiences the world through hyper-sensitive hearing, the editorial and sound teams had to build a language for when the audience enters his point of view.  Which meant figuring out how much of that experience to hear, and how to make the effect clear without making it punishing. O'Bryant also talks about working with sound designer Johnnie Burn, composer Will Bates and executive music producer Marius de Vries to balance the film's sound design, live music and score.

GREG O'BRYANT

Greg O'Bryant is an editor whose credits include the feature film The Report, as well as the television series Mr. & Mrs. Smith, Extrapolations and Brand New Cherry Flavor. A frequent collaborator with filmmakers including Scott Z. Burns and Nick Antosca, Greg's work often explores stories with complex tone, subjective experience and ambitious sound and visual design.

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Hear Greg discuss his work on BRAND NEW CHERRY FLAVOR.

Listen to Greg detail his experience cutting the Apple TV+ series EXTRAPOLATIONS.

Hear Greg talk about cutting the Amazon Prime Video series MR. AND MRS. SMITH.

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Widow's Bay Editors – Isaac Hagy, ACE; Kyle Reiter, ACE and Jen Bryson

The editors of Widow's Bay may not live on a cursed New England island, but after years of working together across shows like Atlanta, Station Eleven and Mr. & Mrs. Smith, Isaac Hagy, Kyle Reiter and Jen Bryson have developed the kind of shared creative history that makes them feel right at home in one.

Created by Katie Dippold for Apple TV, Widow's Bay stars Matthew Rhys as Tom Loftis, the skeptical mayor of a strange little island town where the locals believe the place is cursed. Tom would very much like to turn Widow's Bay into a thriving tourist destination. Unfortunately, the island has other ideas. The series also stars Kate O'Flynn, Stephen Root, Kingston Rumi Southwick, Kevin Carroll and Dale Dickey.

For Isaac, Kyle and Jen, the show was another chance to reunite with longtime collaborator Hiro Murai and post producer Kaitlin Waldron. Isaac's creative relationship with Hiro goes back nearly twenty years, starting with no-budget music videos before eventually leading to Atlanta. Kyle joined that extended creative family through Kaitlin Waldron and Atlanta, while Jen came up through the same post team, beginning as a post PA before eventually moving into the editor's chair.

In our interview, the editors talk about how the show was first described to them as something close to "ten episodes of Teddy Perkins," with additional reference points including Jaws, John Carpenter films, Stephen King stories and the specific textures of rural coastal New England. The island itself was designed to feel contemporary, but also strangely out of time — a place without cell phones, without modern comforts, and possibly without a sensible tourism strategy.

ISAAC HAGY, ACE

Isaac Hagy, ACE is an editor whose work includes the feature films Waves and The Friend, as well as television series such as Atlanta, Mr. & Mrs. Smith, Station Eleven, American Vandal, Chef's Table and Sirens. He has received multiple Emmy and ACE nominations for his work, including recognition for Atlanta and Mr. & Mrs. Smith. Across his work in television and film, Isaac has helped shape stories that blend tonal precision, visual invention and deeply character-driven editing.

KYLE REITER, ACE

Kyle Reiter, ACE is an editor whose credits include Atlanta, Barry, Mr. & Mrs. Smith, Station Eleven and Black Rabbit. A multiple Emmy nominee, Kyle won an ACE Eddie Award for his work on Atlanta. His editing work spans comedy, drama, surrealism and genre storytelling, often finding the rhythm between deadpan humor, emotional honesty and unexpected tonal shifts.

JEN BRYSON

Jen Bryson is an editor whose credits include Atlanta, Mr. & Mrs. Smith and Sirens. After years of working with the post team connected to Hiro Murai, Kaitlin Waldron, Isaac Hagy and Kyle Reiter, Jen moved from post production assistant work into assistant editing and then into the editor's chair. Her work reflects a sharp eye for performance, character detail and the delicate balance between comedy, tension and emotional truth.  



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Hear Isaac discuss his work on SIRENS.

Check out Kyle's interview for BLACK RABBIT.

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Spider-Noir

Editors – Jennifer Barbot, ACE; Tirsa Hackshaw, ACE; Eric Kissack, ACE and Geraud Brisson, ACE

Although the editors of Spider-Noir may have all arrived at the series through different paths, they quickly found themselves working toward the same goal: shaping a superhero story that functions first and foremost as a noir detective tale. For Jennifer Barbot, Tirsa Hackshaw, Eric Kissack, and Geraud Brisson, that meant balancing 1930s atmosphere, modern pacing, dry comedy, stylized action, and the very particular energy of a Nicolas Cage performance.

Created by Oren Uziel for MGM+ and Prime Video, Spider-Noir stars Nicolas Cage as Ben Reilly, a down-on-his-luck private investigator in 1930s New York who is pulled back into his former life as the city's only superhero, The Spider. The series also stars Lamorne Morris, Li Jun Li, Karen Rodriguez, Jack Huston and Brendan Gleeson, and is presented in both "Authentic Black and White" and "True-Hue Full Color" versions.

For the editors, that dual-format release created one of the show's most interesting creative and technical challenges. The editors primarily cut in black and white, leaning into the shadows, contrast and classic noir language of the series, while visual effects reviews often revealed the same scenes in color. The result was a show that could feel emotionally different depending on which version was being watched, even when the underlying performance, rhythm and story remained the same.

JENNIFER BARBOT, ACE

Jennifer Barbot is an editor whose credits include Your Honor, Raised by Wolves, The Man in the High Castle, Jessica Jones and Dope Thief. On Spider-Noir, Jennifer was drawn to the show's mix of noir style, superhero mythology and emotional character work, as well as the opportunity to help establish the tone of a world that had to feel both period-inspired and contemporary.

TIRSA HACKSHAW, ACE

Tirsa Hackshaw, ACE has worked across a wide range of television and film projects, including One Piece, Kung Fu, Jupiter's Legacy, Luke Cage, Jessica Jones and The Punisher. Having previously worked with Steve Lightfoot on Marvel's The Punisher, Tirsa came to Spider-Noir with both a love of the noir genre and a deep appreciation for the Spider-Verse, making the show a natural fit for her interests as an editor.

ERIC KISSACK, ACE

Eric Kissack, ACE is an editor and director whose work includes The Good Place, Veep, Black Monday, Rutherford Falls, Pam & Tommy and The Studio. He has also edited feature comedies such as Role Models, Brüno, Cedar Rapids, The Dictator, Horrible Bosses 2, Daddy's Home, Instant Family, Barb & Star Go to Vista Del Mar and Bottoms. On Spider-Noir, Eric was especially interested in the show's dry, organic comedy and in finding a rhythm that allowed the humor to breathe without undercutting the detective story.

GERAUD BRISSON, ACE

Geraud Brisson, ACE is a French-American film and television editor whose credits include CODA, The OA, Counterpart, This Close, Shantaram and Lessons in Chemistry. Having previously worked with Steve Lightfoot on Shantaram, Geraud was excited by the chance to explore a superhero-oriented story through the lens of noir. His work on Spider-Noir included sequences that blended action, subjective sound, visual effects and classic film references into the show's distinctive style.  

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Hear Eric discuss his work on THE STUDIO

Listen to Geraud discuss cutting Best Picture Oscar-winner CODA

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Editors - Laura Zempel, ACE and Lauren Connelly, ACE

Although BEEF - Season 2 editors Laura Zempel and Lauren Connelly are working together for the first time, this is Laura's second season working on the series.  But despite being new to one another, Laura's and Lauren's talents seamlessly combined to tackle a complex, character-driven "slow burn" with multiple storylines that required a delicate balancing of tone, including both dark comedy and psychological drama.

Created by Korean director Lee Sung Jin (Sonny Lee) for Netflix, Season 2 of BEEF stars Oscar Isaac and Carey Mulligan as Joshua Martin and Lindsay Crane-Martin, and Cailee Spaeny and Charles Melton as Ashley and Austin, two couples; the poor latter two blackmailing the rich former two, using footage Ashley shot of a heated argument which would threaten their image.  Similar to Season 1, this incident escalates into a prolonged feud and a game of cat-and-mouse...minus one dog.

LAURA ZEMPEL

In addition to her Emmy®-winning work on BEEF - Season 1, Laura's skills as an editor can be seen in another Netflix series, SIRENS (2025).  She has also worked on EUPHORIA (2019-22), DISPATCHES FROM ELSEWHERE (2020) and ROOM 104 (2017-19).  Prior to that, she assisted on HOUSE OF CARDS (2014), DEXTER (2011-13) and IF I CAN DREAM (2010).

LAUREN CONNELLY, ACE

Originally from Chantilly, Virginia, Lauren graduated from The University of Southern California with a B.A. in Cinema-Television Production.  Past credits include television shows such as MO on Netflix, GASLIT on Starz, MASTERS OF SEX on Showtime, THE STRAIN on FX, and THE SON on AMC.  Recent feature films include SITTING IN BARS WITH CAKE for Amazon Studios, A TOURIST'S GUIDE TO LOVE on Netflix, and Rodrigo Garcia's FOUR GOOD DAYS, which premiered at Sundance.  

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Editor - Brian Philip Davis

Hokum editor Brian Philip Davis teams up once more with director Damian McCarthy.  Prior to this film the two joined forces to craft McCarthy's supernatural thriller, Oddity.  This time out, they double down on the dread and jack up the jump scares to keep audiences on the edge of, and often a few feet above, their seats.

Written and directed by Damian McCarthy, Hokum stars Adam Scott as novelist Ohm Bauman.  When Bauman retreats to a remote inn to scatter his parents' ashes, he's consumed by tales of a witch that haunts the honeymoon suite. Soon, disturbing visions and a shocking disappearance force him to confront dark corners of his past.

BRIAN PHILIP DAVIS

Brian Philip Davis is known for his work in genre cinema, with films showcased at major festivals including Sundance, SXSW, Tribeca, TIFF, FrightFest, and Fantastic Fest. He has a strong ability to work across multiple genres—from horror to comedy—bringing a confident balance of tone that allows each project to feel cohesive, engaging, and distinctive.

In addition to Damian McCarthy's Hokum, Brian's upcoming working also includes The Incomer, a folk comedy (starring Domhnall Gleeson), written and directed by Louis Paxton and winner of the Sundance Film Festival NEXT Innovator Award 2026.

Additional titles include Oddity, Bad Day for the Cut, Boys from County Hell, The Occupant, Here Before, and The Devil's Doorway.

He is a member of Irish Screen Editors, British Film Editors, and BAFTA, and is represented by UTA.

 

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Editor - Nena Erb ACE and Asst. Editor Gioia Caruso

Wonder Man editor Nena Erb and her assistant Gioia Caruso first worked together on the R-rated road trip comedy, Joy Ride. A film that could not be more different than the grounded, character driven tv series, Wonder Man.  Making the dramatic jump in tone and style from Joy Ride to Wonder Man might have been a daunting task for other editorial duos, but Nena's skills as a "digital quilter" and Gioia's talents as "keeper of the footage" helped them rise to the challenge.

In the Marvel Spotlight series Wonder Man, superpowered individuals are banned from working in Hollywood by something known as the Doorman Clause.  This is a challenge faced by struggling actor Simon Williams, who secretly has such powers.  While out on auditions, Simon forms an unlikely friendship with fellow actor, Trevor Slattery.  Together the pair attempt to land roles in a remake of the in-universe superhero film "Wonder Man".

NENA ERB ACE

Nena Erb ACE is an Emmy-winning film and television editor whose career reflects a steady climb to some of today's most high-profile projects. She began her journey in the industry as a production assistant in the art department on MADtv. From there, Nena transitioned into editorial, building a reputation through her work on acclaimed series such as Insecure, Crazy Ex-Girlfriend, and Little America.  For each, her sharp comedic timing and character-driven sensibilities became defining strengths. Nena's work on Insecure earned her a Primetime Emmy Award in 2020, cementing her status as one of the most respected editors working in television today. Her transition into feature filmmaking further expanded her range, with credits including the 2023 film Joy Ride.

GIOIA CARUSO

In addition to her work with Nena on Joy Ride and Wonder Man, Gioia has assisted on such projects as Scream VI, Obi-Wan Kenobi, Chicago Fire and Mr. Mercedes.  



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Editor - Joel Negron ACE, Sound Designers - Erik Aadahl and Ethan Van der Ryn

Project Hail Mary editor Joel Negron says that one of the first calls that he makes when he signs on to a new film is to his trusted colleagues in audio post, Erik and Ethan.  And for more than fifteen years the trio has collaborated on a wide variety of films, including the Transformers franchise, Jungle Cruise and Cocaine Bear.  But their latest film with directors Phil Lord and Christopher Miller would prove to be one of their greatest challenges, but also one of their biggest hits!

Based on the bestselling novel by Andy Weir, Project Hail Mary is a high-stakes sci-fi thriller centered on Ryland Grace, a scientist who wakes up aboard a spacecraft with no memory of who he is or how he got there. He soon discovers he is humanity's sole hope for survival, tasked with solving a cosmic mystery to save Earth from an extinction-level threat. As his memories slowly return, Grace must utilize his scientific ingenuity and form an unlikely alliance in the vast loneliness of deep space to complete his desperate mission.

JOEL NEGRON, ACE

Joel Negron is a highly accomplished film editor known for his versatile work across high-octane action blockbusters and visually inventive features. He has a long-standing reputation for managing large-scale productions, with notable credits including Thor: Ragnarok, The Nice Guys, and Transformers: Dark of the Moon. Negron's ability to balance complex visual effects with rhythmic storytelling has made him a frequent collaborator for top-tier directors, consistently delivering polished, high-energy cinematic experiences.

ERIK AADAHL

Erik Aadahl is a premier sound designer and supervising sound editor whose innovative approach to sonic world-building has earned him multiple Academy Award nominations. He is perhaps best known for creating the distinct mechanical "voices" of the Transformers franchise and for his evocative work on films like Argo, A Quiet Place, and Godzilla. Aadahl's philosophy centers on using sound as a narrative tool to evoke emotion and tension, often blending organic and synthetic textures to create immersive, award-winning soundscapes.

ETHAN VAN DER RYN

Ethan Van der Ryn is a titan in the world of sound design, boasting two Academy Awards for his contributions to The Lord of the Rings: The Two Towers and King Kong. Throughout his prolific career, he has played a pivotal role in defining the auditory identity of major cinematic universes, frequently partnering with Erik Aadahl through their post-production house, E² Sound. From the roaring intensity of Godzilla to the intricate details of the Kung Fu Panda series, Van der Ryn is celebrated for his technical mastery and his ability to elevate storytelling through sophisticated sound editorial.

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Editor - Tim Squyres, ACE

Mike & Nick & Nick & Alice editor Tim Squyres has over three decades of experience working with directors such as Ang Lee, Robert Altman and Jonathan Demme.  But his latest film marks the first time collaborating with writer/director BenDavid Grabinski.  Together the two navigated the tonal minefield of blending action, comedy, romance and a little time travel, to deliver a raucous romp that spans multiple years in one night.

Set in a highly-stylized criminal underworld, Mike & Nick & Nick & Alice follows two (or three) gangsters and the woman they love trying to survive the most dangerous night of their lives, one in which a time machine is involved.

TIM SQUYRES ACE

Acclaimed film editor Tim Squyres is best known for his long-standing collaboration with director Ang Lee. A graduate of Cornell University, Squyres began his career in the late 1980s and quickly distinguished himself as a precise and emotionally intuitive storyteller. His early work with Lee on The Wedding Banquet (1993) marked the beginning of a creative partnership that would span decades and include films such as Sense and Sensibility, Crouching Tiger - Hidden Dragon, Hulk, and Life of Pi. Across these projects, Squyres developed a reputation for crafting nuanced performances and guiding complex narratives with clarity, rhythm, and restraint.

In addition to his work with Lee, Squyres has also collaborated with a range of influential filmmakers, including Robert Altman on Gosford Park and Jonathan Demme on Rachel Getting Married. His versatility across genres—from ensemble dramas to intimate character studies—has earned him multiple Academy Award and American Cinema Editor nominations.

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Axel Geddes ACE, Tony Greenberg, Chloe Kloezeman, Geoff Sledge, Ayesha Johannes

The Hoppers editing team of Axel, Tony, Chloe, Geoff and Ayesha understand better than anyone, that in the world of animation, creating a captivating film involves more than just drawing and animating characters. It requires a deep understanding of storytelling, editing, and collaboration.  Not to mention the occasional party in the cutting room.

Hoppers follows a young woman named Mabel Tanaka, an animal lover whose mind is transferred into a lifelike robotic beaver, allowing her to communicate with animals and save their habitat from human destruction, while inadvertently starting an uprising in doing so.

 

AXEL GEDDES, ACE

Axel Geddes joined Pixar Animation Studios in February 1999 as an assistant editor on the Academy Award®-nominated feature "Toy Story 2." Geddes went on to work as a second assistant editor on "Monsters, Inc.," first assistant editor on Oscar®-winner "Finding Nemo" and second film editor on Oscar®-winning feature film "WALL•E."  He continued as a lead editor on two Toy Story Toons, the studio's Halloween television special "Toy Story of TERROR!" and "Finding Dory." He more recently served as Editor on the Academy AwardÆ-winning film "Toy Story 4," in addition to working on Pixar's "Lightyear." Geddes recently completed cutting Pixar's latest feature "Hoppers".

Geddes was born and raised in the San Francisco Bay Area. He studied filmmaking with an emphasis on editing at The Academy of Art University in San Francisco. He resides in the East Bay with his wife and their three children.

TONY GREENBERG

Anthony Greenberg (call him Tony) joined Pixar in 2002 as a Second Assistant Editor for The First Incredibles. His subsequent credits include serving as First Assistant Editor on WALL•E, and Second Editor on both The Good Dinosaur and Incredibles 2. Most recently, he served as the Lead Editor for Lightyear and as a Second Editor for Hoppers.

Prior to his time at Pixar, Tony began his career as an Intern at Industrial Light & Magic, where he eventually rose to the position of Assistant VFX Editor.

CHLOE KLOEZEMAN

Chloé Kloezeman was hired as a temporary assistant editor in 2012 for the TV special, Toy Story of Terror. What was supposed to be 3 months turned into 14 years, and she's hoping that no one has noticed. She has Second Assistant Editor credits on Finding Dory, Coco, Toy Story 4 (and said TV Special), and two credits as a Second Editor (Lightyear and the new Hoppers). Working on Hoppers has been a highlight of her career.

Kloezeman was born and raised in the San Francisco Bay Area and is a UC Berkeley graduate. She lives in Oakland with her partner and two kids.

GEOFF SLEDGE

Geoffrey Sledge previously worked on live action features in New York, mainland China and Hong Kong. After returning to the States, he started at Pixar in 2013, first as an assistant on Coco. He transitioned into the Second Editor role while working on Hoppers.

AYESHA JOHANNES

Ayesha Johannes joined Pixar in the spring of 2016 as an Editorial Intern on Cars3. She then went on to become a second assistant editor on Luca and then Lightyear.  She also worked as an assistant editor on two spark shorts at Pixar, PURL and LOOP. On Hoppers she was promoted to a first assistant editor and it has been her most favorite time at Pixar so far.

Prior to her time at Pixar, Ayesha studied at the Academy of Art University and while there worked with a director on a Filipino short film called Christmas Bonus.

She was born and raised in Mumbai, India and now lives in Oakland, California with her family.

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Editor - Nigel Williams

How to Get to Heaven From Belfast editor Nigel Williams once again finds himself cutting with showrunner Lisa McGee.  Having first worked with McGee on her hit series, Derry Girls, the two are back together for a show that features Lisa's well-known witty dialogue and quirky characters, but this time all wrapped up in a mystery.

How to Get to Heaven From Belfast is an eight-part series that follows three longtime friends. Now in their late 30s, but still as close as ever, the girls are about to embark on the most thrilling adventure of their lives. When an email arrives, telling them about the death of the estranged fourth member of their childhood gang, a series of eerie events at her wake set them on a dark, dangerous and hilarious odyssey through Ireland and beyond.  Together they try to piece together the truth of the past. It's a show about friendship, memory and what happens when life doesn't turn out quite like you'd expected.

NIGEL WILLIAMS Nigel Williams is one of the most highly sought-after editors in comedy. He hit gold in 2000 when two strangers were looking to cut a pilot. Those strangers were Ricky Gervais and Stephen Merchant. Together they made one of the biggest comedies of all time, The Office. Nigel then went on to edit some of the most successful comedies on TV, including Extras, Outnumbered, Motherland, Horrible Histories and Tracey Ullman's Show. Nigel also edited 5 seasons of Episodes, starring Matt Leblanc, in Los Angeles, working with Jeffrey Klarik and David Crane (creator of Friends). Williams was thrilled that his recent work on hit show Derry Girls was recognized with a coveted BFE award for Best Editor. He has also co-founded Wrap Party Agency, and is committed to promoting more diversity and inclusion within post-production.

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Editors - Arthur Tarnowski ACE, CCE and Véronique Barbe CCE

After years of working in different cutting rooms across Montreal, Heated Rivalry editors Arthur Tarnowski and Véronique Barbe are finally skating on the same line for showrunner Jacob Tierney. But bringing the "spicy" subject matter of Rachel Reid's book series to tv audiences would be no small feat. It required the editors to find the right balance of tension, chemistry and character within and around the steamy sexual encounters of the shows main characters.

Heated Rivalry follows the lives of two budding hockey superstars, Canadian Shane Hollander and Russian Ilya Rozanov.  Before becoming pro hockey players, the two meet as competitors at an international hockey competition.  Six months later they would be drafted by two rival teams, the Montreal Metros and the Boston Raiders.  Although their on-ice rivalry is amplified by media coverage and public perception, the two develop a private, initially casual sexual relationship that continues intermittently over several years as they pursue their hockey careers.  Keeping this relationship hidden from the world is a challenge greater than either would ever have on the ice.

ARTHUR TARNOWSKI ACE, CCE

Arthur Tarnowski is an award-winning editor who grew up loving James Bond and Ingmar Bergman films (thank you PBS). Editor of over 40 features, in both English and French, his eclectic filmography encompasses everything from broad comedies like the Canadian box-office hits Father and Guns 2 and Compulsive Liar to auteur cinema like Drunken Birds (Canada's Academy Awards submission, 2022), Kidnapping Inc.(Sundance 2024; Haiti's Academy Awards submission, 2026), Irena's Vow (TIFF 2023) and The Hummingbird Project(TIFF 2018). He also enjoys cutting action pictures such as Deadfall (Tribeca 2013), Brick Mansions and The Decline. His television work includes The Sticky, DMV, 19-2, Bad Blood, Being Human, The Art of More, and The Moody's. He has also created trailers for over 150 films. His most recent project, Heated Rivalry—a Crave/HBO series created with frequent collaborator writer-director Jacob Tierney—has become a global television phenomenon.

VÉRONIQUE BARBE CCE

Aside from her work on Heated Rivalry, Vero's credits include HBO's Big Little Lies and Sharp Objects, both directed by Jean‑Marc Vallée — a cherished creative partner and mentor whose impact continues to guide her work. She has edited TV series and films across Canada, the U.S., Europe, and Japan, and has earned nominations from the Emmys, ACE, CCE, and CSA.  

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Editor - Michael P. Shawver

Sinners editor Michael Shawver has enjoyed a long and productive relationship with his former USC classmate, director Ryan Coogler.  Together the two have collaborated on Fruitvale Station, Creed, Black Panther, Black Panther: Wakanda Forever and now Sinners.  Their past experience on both VFX-heavy films like Black Panther, as well as socio-political dramas like Fruitvale Station, would prove invaluable as they worked to blend the real horror of racial injustice with the fantastical horror of a vampire onslaught.

Taking place in 1932, Sinners follows identical twins, and World War I veterans, Elijah "Smoke" and Elias "Stack" Moore as they return to Clarksdale, Mississippi after spending seven years in Chicago. Using money stolen from criminal syndicates, they purchase a sawmill from a landowner to start a juke joint for the local Black community. Their younger cousin Sammie, a singer and guitarist, joins them despite his pastor father's warnings about the sins of blues music.  His warnings would prove prophetic, as the twins and their friends face foes both familiar and supernatural.

MICHAEL P. SHAWVER Originally from Rhode Island, Sinners editor Michael Shawver developed an early working relationship with director Ryan Coogler during their time together at the University of Southern California School of Cinematic Arts. Shawver initially edited Coogler's short film, Fig, and later went on to cut his feature debut, Fruitvale Station, starring Michael B. Jordan. The film garnered two of the Sundance Film Festival's top prizes, the Audience Award and the Grand Jury Prize, and went on to receive numerous awards and nominations at film festivals worldwide. Shawver also edited All Summers End, a debut feature film by director Kyle Wilamowski; Warren, by director Alex Beh; Tell, for director J.M.R. Luna; and Fourth Man Out, for Andrew Nackman. Shawver's next collaboration with Coogler and Jordan was Creed, for which he received a nomination for Best Editing in the Independent Critics Poll. Michael then reunited with Coogler and Jordan on Black Panther, a box office smash, which was nominated an outstanding 43 times, including for Best Picture at the Academy Awards and Best Motion Picture Drama at the Golden Globes. His work on this project also earned him a Saturn Award Nomination for Best Editing and an Alliance of Women Film Journalists Nomination for the Best Editing EDA Award. In addition, the film won Movie of the Year at the AFI Awards. Following Black Panther, Shawver edited A Quiet Place: Part II, directed by John Krasinski. He later returned to the Marvel universe for Black Panther: Wakanda Forever, again collaborating with Coogler and Jordan. Shawver's recent work includes Abigail, a genre-bending thriller directed by Matt Bettinelli-Olpin and Tyler Gillett. He is currently editing The Thomas Crown Affair directed by and starring Michael B. Jordan. The Credits

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Editors - Skip Macdonald ACE, Chris McCaleb ACE and Joey Liew

The PLUR1BUS editing team of Skip, Chris and Joey have worked together for 15 years on Vince Gilligan's Breaking Bad, Better Call Saul and now his new sci-fi hit for Apple TV+.  With that kind of shared experience the three have established a creative "hive mind" of their own, while still demonstrating their individual talents as storytellers.  Despite PLUR1BUS being such a departure from the stories he has told up to this point, it's easy to see why one thing Vince wouldn't change is the post crew that has helped make his shows modern classics.

PLUR1BUS follows Albuquerque author Carol Sturka, who is one of only 13 people in the world immune to the effects of the "Joining", an event in which an extraterrestrial virus transformed the rest of humanity into a peaceful and content hive mind known as the "Others". The hive mind happily accommodates the wishes of those who remain unaffected, but admits that it will ultimately seek to assimilate them when it learns how to do so. Carol is adamantly against their efforts as she searches for a way to reverse the Joining.

SKIP MACDONALD, ACE

Despite an inauspicioius beginning to his career, working as an assistant sound editor on legendary film flop, Heaven's Gate, today Skip's mantle features an Emmy® award for his work on Breaking Bad.  Adding his work on Fargo to the shows he has done with Vince Gilligan, Skip has been nominated for 12 ACE Eddie awards and 11 prime-time Emmy® awards, including his win in 2014.

CHRIS McCALEB, ACE

In addition to being thrice nominated for an Emmy® award for his work on Breaking Bad (1x) and Better Call Saul (2x), Chris has been nominated for a total of four ACE Eddie awards between the two shows, winning in 2021 for his work on Better Call Saul.  

JOEY LIEW

California native turned New Mexico transplant, Joey Liew has steadily risen up the ranks of Vince Gilligan's ABQ universe.  Joey began on Breaking Bad in 2010 as a production assistant, before making his way as an assistant editor and then editor on Better Call Saul and now PLUR1BUS.  In 2021 Liew would share an ACE Eddie award with Chris for their work on the Season 5 Better Call Saul episode, "Bad Choice Road".

The Credits

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Editor - Stacey Schroeder ACE

Editor Stacey Schroeder ACE admits she knows nothing about magic, but you wouldn't know it from the amazing slight of hand she demonstrates when cutting a movie.  Coming into this film never having worked with director Ruben Fleischer before, and also being new to the franchise, Stacey had to rely upon her past experiences in comedy and action to hit all the right notes for this "magic-heist-action-comedy" tale.

Now You See Me: Now You Don't is the third installment in the Now You See Me film series. Returning cast members include Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Lizzy Caplan and Morgan Freeman.  For this installment of the franchise, the Four Horsemen and a new generation of illusionists join forces to steal the world's largest diamond from a South African mogul who heads an international crime syndicate.

STACEY SCHROEDER ACE Editor Stacey Schroeder's film credits include Now You See Me: Now You Don't; The Disaster Artist; Popstar: Never Stop Never Stopping (with Jamie Gross and Craig Apert); Sonic the Hedgehog; Blockers and Cinderella(2021). Her television credits include pilot for The Last Man on Earth; Eastbound & Down; You're the Worst; She-Hulk: Attorney at Law; Garfunkel & Oats and Girlboss.   Raised in New Port Richey, Fla., Schroeder graduated from the University of Florida and now lives in Los Angeles with her husband and two kids. The Credits

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Editors - Esther Sokolow, Glenn Garland ACE and Matthew V. Colonna ACE

IT: Welcome to Derry editors Esther, Glenn and Matt had never worked together prior to the new HBO series, but quickly formed a family bond that translated into a fun and creative cutting room.  Their antics included scaring unsuspecting tourists taking the Warner Brothers tram tour past their offices.  And you know what Jack Torrance says about "all work and no play"! Developed by Andy Muschietti, Barbara Muschietti and Jason Fuchs, It: Welcome to Derry is based on Stephen King's 1986 novel It and is a prequel to the films It (2017) and It: Chapter Two (2019).  The series takes place in 1962, when a couple and their son move to Derry, Maine just as a young boy disappears.  With their arrival, bad things begin to happen in the town.  Again.

ESTHER SOKOLOW

Esther Sokolow is a Los Angeles-based editor who specializes in genre-rich storytelling, bold characters, and projects with cinematic scope.  Esther's collaboration with IT: Welcome to Derry showrunner Andy Muschietti began on IT: Chapter Two, where she served as 1st Assistant Editor, and continued on The Flash, where she was promoted to Additional Editor. Her work bridges studio tentpoles and independent character dramas, with a focus on horror, psychological thrillers, and supernatural themes. Her early film diet of Hitchcock, classic mysteries, and silent comedies provided provided inspiration for an editor drawn to tension, timing, and the emotional weight of what's unspoken. Later, the spectacle of The Lord of the Rings sparked a love for scale and the thrill of stories that move an audience. Originally from Atlanta, she moved to California to study Film Editing at Chapman University. In 2015, she was selected as an honorary intern for American Cinema Editors (ACE), an experience that shaped her early career and inspired a commitment to both craft and mentorship. Esther now speaks on an annual panel for the ACE Internship Program and serves on MPEG's Apprenticeship and Growth Committee, supporting the next generation of editors and assistant editors. Before stepping into the editing chair, Esther worked as an assistant editor on feature films including Rampage, Bloodshot, The Guilty, Stronger, Fall, and Rememory. She also worked in-house as a VFX Editor at Method Studios, contributing to Guardians of the Galaxy and San Andreas. Her years supporting other editors honed more than technique; they taught her to listen to pacing, to performance, and to subtle story beats others might overlook. That same quiet attention now shapes her own work.

GLENN GARLAND, ACE

Glenn Garland is television and film editor with more than twenty years of experience in the entertainment industry. In addition to cutting IT: Welcome To Derry, other impressive TV credits include Poker Face, The Vampire Diaries, Preacher, Banshee, Stan Against Evil, and Altered Carbon.

Glenn's equally notable feature resume includes editing Rob Zombie's Halloween and Halloween II, the critically acclaimed King of California, The Turning, Lords Of Salem, The Devil's Rejects, Black Box and most recently Broke. In addition to editing, Glenn has produced the television series Paradise City as well as feature films 31, Jersey Bred, LX 2048, The Man Who Was Thursday and most recently, Life Is. He has also created and hosts the podcast series Editors on Editing, which can be heard on Art of the Frame.

MATTHEW V. COLONNA, ACE

Aside from his work on It: Welcome to Derry, Matt's work can be seen on another Stephen King-inspired series, Castle Rock, and the King-adjacent series, Locke & Key.  Other notable tv shows cut by Matt include Dexter (2008-09), Narcos (2015-17) and Sugar (2024).  Matt also happens to be one of the original drummers for Black Eyed Peas.  How about that?!

The Credits

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Editor, Myron Kerstein ACE

WICKED: FOR GOOD editor, Myron Kerstein ACE finds himself in familiar post-production territory after taking a short break to enjoy the success of the first film in this two-part adaption of the musical megahit.  This brief respit included Myron receiving an Oscar® nomination and an ACE Eddie win for his efforts.  But this time out, Myron faces the challenge of closing out this story with a movie that is darker in tone with a more complex narrative.

Adapted from the venerable Broadway smash, WICKED: FOR GOOD follows the journey of a young woman named Elphaba. Misunderstood and often outcast because of her green skin, Elphaba forges an unlikely but profound friendship with Glinda, a fellow student with an unflinching desire for popularity. Following an encounter with the Wizard of Oz, their relationship soon reaches a crossroad as their lives begin to take very different paths.

MYRON KERSTEIN, ACE

In addition to his musical experience with Jon M. Chu and Lin-Manuel Miranda, Myron also had a diverse pool of film and tv projects, including GARDEN STATE (2004), NICK AND NORAH'S INFINITE PLAYLIST (2008), LITTLE FOCKERS (2010), THE DUKES OF HAZARD (2005), FAME (2009), GIRLS (2015-17) and HOME BEFORE DARK (2020).

The Credits

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Editor - Evan Schiff ACE

Frankenstein editor Evan Schiff ACE first began his journey as an assistant editor on Del Toro's Pan's Labyrinth (2006). Over the next, nearly two decades, Evan would establish himself as an action movie editor to be reckoned with.  He would flex his cutting chops on films like John Wick: Chapter 2 (2017), John Wick: Chapter 3 - Parabellum (2019) and Bob Odenkirk's action debut, Nobody (2021).  Evan would also drop by the MCU to cut The Marvels (2023).  But to hear Evan tell it, it was hardly his skills as an action editor that would prompt Del Toro to hire his former assistant editor to cut Frankenstein.

Produced, written and directed by Guillermo del Toro, and based on the 1818 novel by Mary Shelley, Frankenstein stars Oscar Isaac, Jacob Elordi, Mia Goth, and Christoph Waltz. The film follows the life of egotistical scientist Victor Frankenstein whose experiment in creating new life results in dangerous consequences when his monstrous creation comes to life.

EVAN SCHIFF ACE

(In Evan's own words...) Originally from Syracuse, NY, I started my career in the film industry at the age of 16, between my junior and senior years of high school, with an internship at Stan Winston Studio (now Legacy EFX). After graduating from high school and being accepted into USC's film production program, SWS hired me back to do tech support as their Systems Administrator and eventually their in-house VFX Editor. I worked there part-time for all four years of college and full-time for one year after. While at USC, I got bit by the editing bug. I found that, even more than creature or visual effects, I loved sitting in the editing bay for hours on end putting my student films together. So a year after graduation, and five years after starting my job at Stan Winston's, I started to pursue editing full-time. It was slow at first, but eventually I got my first few jobs as an assistant editor, and things took off from there.

The Credits

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Editor - Nathan Schauf

KPop Demon Hunters editor Nathan Schauf was already a trusted teammember at Sony Pictures Animation (SPA) when has was asked to "lend a hand for a bit" on this new action-comedy musical. Not long after, lending a hand turned into leading the way, with Nathan leaning on his years of experience cutting animation to help craft the film into a worldwide hit that would become Netflix's most streamed content of all time.

KPop Demon Hunters follows Rumi, Mira, and Zoey, a world-famous K-pop girl group known as Huntrix.  Unbeknownst to their fans, Huntrix secretly uses their music and performance abilities to fight and protect the world from demons. While balancing their lives as global pop stars with their mission to keep demons sealed away, the group faces their biggest challenge when a rival, all-demon boy band called the Saja Boys emerges to steal their fans and threaten the world.  

Nathan Schauf

Since joining SPA in 2020, Nathan has contributed to an array of animated projects, including Hotel Transylvania: Transformania, the latest entry in the beloved monster franchise, and Genndy Tartakovsky's R-rated comedy Fixed. He has also played a key role in several other projects in development.  With over 25 years of experience in the entertainment industry, Schauf's career spans animation, gaming, virtual reality, commercials, sports, and independent films. 

Schauf earned a degree in Electronic Media and Communication with a minor in English from Texas Tech University. He currently resides in Orange County, California, with his wife, daughter, son, and their cat, Todd.

The Credits

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Editor - Andy Jurgensen

One Battle After Another editor Andy Jurgensen came into his new film already "battle" tested with director Paul Thomas Anderson's unique film-based workflow.  Shoot film.  Print film dailies.  Screen film dailies.  Create digital workprint.  Cut in Avid.  Conform negative.  But Paul loves a challenge, so he decided to not only make "One Battle" the first IMAX film presented entirely in the 1.43:1 ratio, but he also resurrected the VistaVision format for the first time in sixty years.  Luckily, Andy loves a challenge too.

One Battle After Another stars Leonardo DiCaprio as Bob, a washed-up revolutionary who lives in a state of stoned paranoia, surviving off-grid with his spirited and self-reliant daughter, Willa. When his evil nemesis, Colonel Lockjaw (Sean Penn), resurfaces and Willa goes missing, the former radical scrambles to find her as both father and daughter battle the consequences of their pasts.

ANDY JURGENSEN

Andy Jurgensen has worked with director Paul Thomas Anderson since their time together on Inherent Vice (2014).  At that time, Andy was first assistant editor to Leslie Jones ACE.  From there Andy served as associate editor to Dylan Tichenor ACE on Anderson's Phantom Thread (2017).  Andy finally got his big break as a lead editor for Anderson's Licorice Pizza (2021). In addition to his work with Paul Thomas Anderson, Andy has also served as an assistant editor on a number of films with director Jay Roach, including The Campaign (2012), Trumbo (2015) and Bombshell (2019).

The Credits

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Editors - Vikash Patel, Cedric Nairn-Smith and Kyle Reiter ACE

Black Rabbit editors Viks, Ced and Kyle worked independently during post but still managed to collectively craft a complex narrative that stayed consistent in tone and style throughout the run of the series.  And while new guy Reiter described feeling like a "bench player" on the team, Viks and Ced benefited from a long working relationship that began with Viks mentoring Ced as his former assistant.  Regardless of any of their past experiences, star and producer Jason Bateman tasked the post team with creating a vibe that had tendencies drawn from Bateman's Netflix hit, Ozark but also from dark comedies like the Safdie brothers' Uncut Gems.

Black Rabbit tells the tale of two brothers, Vince and Jake Friedken, former bandmates in a successful musical act whose lives went down different paths in the years that followed.  Rising-star restaurateur Jake is forced into New York's criminal underworld when his chaotic brother returns to town with loan sharks on his trail, opens the door to escalating dangers that threaten to bring down everything he's built.

VIKASH PATEL

In addition to his work on Black Rabbit, Viks won an Emmy® in 2008 for his work on TOP CHEF and was nominated for an Emmy® in 2020 for his work on OZARK.  Viks has also edited series that include THE SYMPATHIZER (2024), THE MORNING SHOW (2019), BATES MOTEL (2015-16) and LONGMIRE (2012-14).

CEDRIC NAIRN-SMITH

Prior to Black Rabbit, Cedric's editorial work could be seen on DAREDEVIL: BORN AGAIN (2025), MOON KNIGHT (2022), LISEY'S STORY (2021), THE BOYS (2019-2020) and BATES MOTEL (2015-2017).

KYLE REITER, ACE

4x Emmy® nominee Reiter has edited such shows as MR. AND MRS. SMITH (2024), BARRY (2018) and ATLANTA (2016), a series for which Kyle would win an ACE Eddie award in 2019.

The Credits

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Editors - Julie Cohen ACE and David Rogers ACE

The Paper editors Julie Cohen and David Rogers first began collaborating on another Greg Daniels series, Space Force.  Although that series was not in the same "mock doc" format as The Paper, David's first show with Daniels was. And that series was The Office, where he served as both editor and director.  Both Julie and David felt at home with The Paper's faux documentary format however, with David having worked on The Office and Julie receiving multiple Emmy nominations for her work on the unscripted series, Project Runway.

The Paper follows up on the story from The Office, as the documentary crew that immortalized Dunder Mifflin's Scranton branch discovers a disappearing Midwestern newspaper and the publisher trying to revive it with volunteer reporters. This mockumentary follows the daily lives and struggles of dreamers in love with journalism, and their less-than-competent co-workers, trying to deliver accurate news without the resources or training to do a great job.

JULIE COHEN ACE

Julie Cohen "loves to edit!" and considers herself lucky to have done it a lot over the last twenty years. She's edited across genres: documentary, reality, comedy, drama, sometimes all at once. Highlights include Project Runway, On Becoming a God in Central Florida, and Space Force. Most recently, she edited a bunch of episodes of Hulu's Tell Me Lies, starting with the pilot and including both season finales.

DAVID ROGERS ACE

David Rogers wanted to be a director since seeing Superman The Movie at the age of 8, and shot videos and films throughout high school and college. Following that he would move to L.A. and work as an Assistant Editor and then Editor on such shows as Seinfeld, NewsRadio, Andy Richter Controls The Universe, Entourage, The Comeback, and The Office. David started directing on The Office and directed shows like Parks and Recreation and The Mindy Project, where he also served as Co-Executive Producer. David is also the owner of a huge Superman collection and a Knight Rider replica which he's currently in the process of modifying.

The Credits

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Editor - Joe Murphy

Weapons editor Joe Murphy probably had no idea when he interviewed with Zach Cregger over a Zoom call that, in a relatively short amount of time, they would collaborate on not one, but two hit horror films.  Regardless, Joe says that call wasn't just about getting to know each other, but also about ensuring a supportive and frank collaboration; key ingredients for him in being able to articulate the director's vision effectively.  Weapons unfolds in chapters around six main characters, which presented a unique challenge in introducing new characters multiple times throughout the film.  According to Joe, the key was finding the balance between familiarizing the audience with these characters while maintaining narrative momentum.

Zach Cregger's Weapons follows the seemingly inexplicable case of seventeen children from the same classroom who mysteriously run away on the same night at the same time, having been apparently abducted by an unseen force.

Joe Murphy

Prior to his work on Weapons, Joe cut such films as On Swift Horses (2024), Paper Soldiers (2020), and Zach Cregger's first horror feature, Barbarian (2022).

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Director, Richard Shepard and Editor, Adam Lichtenstein

FILM GEEK isn't just another notch on the IMDB belts of director, Richard Shepard and his friend and editor, Adam Lichtenstein.  This is the story of Richard's cinematic "life" and the mysterious father who was his guide into that world.  Deftly incoroporating clips from over 200 movies of the 70's and early 80's, FILM GEEK chronicles Richard's introduction and absorption into films both classic and forgotten, between the ages of 6 and 18.  From there, Richard would make the transition from amateur 8MM auteur, to being an "all-in" film student at NYU, where he would begin his over thirty-year friendship and collaboration with Adam.  And it is Adam whom Richard credits as drawing out the more personal aspects of his journey in FILM GEEK, most notably the story of his complicated but caring father.

RICHARD SHEPARD

Richard Shepard is an Emmy and DGA-winning director/writer whose feature films include the Golden Globe nominated The Matador starring Pierce Brosnan and Greg Kinnear, Dom Hemingway starring Jude Law and Richard E. Grant, and The Perfection starring Allison Williams and Logan Browning which was named one of the best horror films of the year by Rolling Stone, Vogue, Harper's Bazaar and New York Magazine.

In his career, Shepard has directed ten television pilots to pick-up including Criminal Minds, now entering its 17th season; Ugly Betty for which Shepard won the Director's Guild award and Emmy award; the Golden Globe and Emmy nominated Zoey's Extraordinary Playlist; and Acapulco for Apple, now in its third season.

Through its six seasons, Shepard directed twelve episodes of the Golden Globe winning HBO series Girls, including the controversial "American Bitch" episode for which Matthew Rhys received an Emmy nomination, as well as several Emmy nominated episodes of The Handmaid's Tale. He recently directed the final two episodes of the multiple Emmy nominated Welcome to Chippendales a Hulu limited series.

Shepard's short film Tokyo Project starring Elisabeth Moss and Ebon Moss-Bachrach premiered at the Tribeca Film Festival and was bought by HBO, and his HBO documentary I Knew It Was You: Rediscovering John Cazale was nominated for an Emmy award.

ADAM LICHTENSTEIN

Born with a natural love for time code, Adam showed an early preference for non-drop frame, then rose through the editorial ranks pretending to enjoy sports, overusing terms like "shots on goal", "swish", "in your face" and "that's what I'm talking about" without the slightest idea what he was talking about.

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Editors - Chris Patterson and Dirk Westervelt ACE

EENIE MEANIE editors Chris Patterson and Dirk Westervelt reunite after a six-year break from their first co-editing effort, ZOMBIELAND: DOUBLE TAP.  From its indie vibe to its seventies-inspired aesthetic, EENIE MEANIE doesn't shy away from its influences. Chris shares how both he and writer/director Shawn Simmons gravitated towards filmmakers like Steven Soderbergh, drawing inspiration from classics like OUT OF SIGHT and OCEAN'S ELEVEN.

EENIE MEANIE tells the story of Edie, a reformed teenage getaway driver who gets dragged back into her unsavoury past when a former employer offers her an opportunity to save the life of her chronically unreliable ex-boyfriend.   The film was written and directed by Shawn Simmons, making his directorial debut.

CHRIS PATTERSON

On his way to co-editing ZOMBIELAND: DOUBLE TAP with Dirk, Chris began his career assisting on films such as THE ROYAL TENENBAUMS (2001), ANALYZE THAT (2002), THE TOWN (2010), ZERO DARK THIRTY (2012) and READY PLAYER ONE (2018).

DIRK WESTERVELT ACE

When he's not cutting for James Mangold on projects such as; LOGAN (2017), FORD v FERRARI (2019), and INDIANA JONES and THE DIAL OF DESTINY (2023), Dirk's editing chops can be seen in  DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019).

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Editor - Brian Scott Olds

The Naked Gun editor Brian Scott Olds knows that comedy thrives on the elements of surprise and timing.  He applied this philosophy to every aspect of the film—from physical gags to witty word play and silly sound design.  But making a film that respects the legacy of its predecessor while updating its essence for today is no laughing matter. Brian and director Akiva Schaffer had a clear mission: maintain the comedic tone and tenor from the original while spoofing modern-day blockbusters like Mission Impossible.  And stop calling me Shirley.

Avika Schaffer's take on The Naked Gun features Lieutenant Frank Drebin Jr (Liam Neeson) working as a police officer like his legendary father. In order to save Police Squad from shutting down he must solve the mystery behind.....oh, who cares?!  This is The Naked Gun! The plot doesn't matter!

Brian Scott Olds

Editor Brian Scott Olds is known for his work on Central Intelligence (2016), The Happytime Murders (2018), The King of Staten Island (2020) and Chip 'n Dale: Rescue Rangers (2022).

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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.

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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.

 

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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).

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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.

 

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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).

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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.

 

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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.

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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.

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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.

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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.

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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.

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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.

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Editors - Federico Brioni, Diana Vasconcellos, Vicente Kubrusly and Guilherme Porto

A big series, about a bigger than life racing icon, takes a big team of talented editors and assistant editors to tell the story right.  And that is just what Federico, Diana, Gui and Vicente have to say about their experience on the series - that they were part of highly tuned, highly collaborative team of professionals, all working diligently to honor the life of a racing legend and national hero of their home country of Brazil. Created by Vicente Amorim and directed by Amorim and Júlia Rezende, the series is based on the life of legendary race car driver Ayrton Senna.  Starring Gabriel Leone as Senna, the series follows his life from the beginning of his racing career in karting to his untimely death at the 1994 San Marino Grand Prix.

FEDERICO BRIONI

Federico Brioni is film editor with experience across various formats, and genres. Originally from Argentina, Federico has built his entire career in Brazil, where he continues to live and work. His contributions include "Senna," Netflix's series about the legendary Formula 1 driver Ayrton Senna, "Jules and Dolores," which garnered acclaim and awards. "O Doutrinador: A Série" a Brazilian action-thriller adapted from the eponymous comic book, as well as "Anderson Spider Silva," Paramount's series chronicling the life and career of Brazil's MMA champion. Senna is his first collaboration with Vicente Amorim.

DIANA VASCONCELLOS

Diana Vasconcellos is a Brazilian film editor whose career began in the 1980s. Over the years, she garnered more than 60 credits across feature films, documentaries, and TV series. Her contributions to the craft have earned her 16 nominations and 2 prestigious industry awards. She previously collaborated with Vicente Amorim on the film "Dirty Hearts" and the TV series "Romance Policial Espinosa".

VICENTE KUBRUSLY

Vicente Kubrusly is a Brazilian film editor and director with over two decades of experience in the audiovisual industry. His career spans feature films, documentaries, and TV series, reflecting a profound understanding of the entire production process. Vicente's notable works include the series Dom (Amazon Prime Video), the film Dois Filhos de Francisco (dir. Breno Silveira), and  Eu Tu Eles (dir. Andrucha Waddington). A former executive producer and partner at Conspiração Filmes, Vicente has contributed to a range of acclaimed projects, such as Assédio (Globoplay), Magnífica 70 (HBO), and the documentary Universo ao Meu Redor featuring Marisa Monte. His diverse body of work demonstrates a dedication to storytelling across formats and platforms.  Vicente previously colaborated with director Vicente Amorim on the anthology film Rio, I Love You.

GUILHERME PORTO

Guilherme Porto is a Brazilian editor with experience in over 20 feature films and TV series, taking on various post-production roles. He served as the editor of the feature film Raquel 1,1, directed by Mariana Bastos, and worked on episodes for Brazilian TV series like Senna, Desperate Lies, Criminal Code, Brotherhood, and Lady Voyeur for Netflix, as well as other projects for Globoplay, HBO, and Disney+. Senna marks his first collaboration with Vicente Amorim

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Editors - Brett W. Bachman, ACE and Josh Ethier, ACE

Long time friends, but first time co-editors, Brett and Josh are no strangers to working in the horror/thriller genre.  The same can't be said for COMPANION director Drew Hancock. Not only was this film Hancock's first feature as a director, but it was also his first real foray into genre filmmaking.  But that didn't stop either Brett or Josh from seeing how good this film was going to be right from the script.  What they couldn't predict, was how great a working experience the whole thing would be. Written and directed by Drew Hancock, COMPANION stars Sophie Thatcher and Jack Quaid as a couple on a weekend getaway with friends at a remote cabin that unravels into violence amid revelations that one of the guests is what's known as a companion robot.

BRETT W. BACHMAN, ACE

Brett W. Bachman, ACE, is an editor of film & television with acclaimed titles such as Mandy, Pig, & The Fall of the House of Usher. He has worked with leading voices in genre film, such as Panos Cosmatos, Mike Flanagan, Josh Ruben, and Elijah Wood. Several of his feature films have premiered at renowned international festivals, including Sundance, TIFF, SXSW, and Cannes. He's also brought his talents to the small screen with numerous television and commercial projects. Recent & upcoming titles include: Companion, a thriller from writer/director Drew Hancock and New Line Cinema, Rabbit Trap starring Dev Patel, and Heart Eyes, a romcom-slasher hybrid from director Josh Ruben. Additional titles include Werewolves Within, Color Out of Space, The Toxic Avenger, The Vigil, Cooties, and many more. Bachman found his love of editing in his formative years, developing a passion for storytelling through three self-produced documentaries when he was just 19. At 22 years old, he was one of the youngest members of his AFI Conservatory editing program. Since then, he's nurtured his love of filmmaking with an array of eclectic projects as an Editor, Associate Producer, and Executive Producer

JOSH ETHIER, ACE

Josh Ethier is a renowned Los Angeles based film editor who has left a lasting mark on the horror, thriller and action genres; he literally wears his passion for the genres on his sleeve. His works have premiered at esteemed film festivals such as the Toronto International Film Festival, Sundance Film Festival, SXSW, Tribeca Film Festival, Beyond Fest and Fantastic Fest.  Ethier is most well known for his frequent collaborations with director Joe Begos, with whom he has crafted a unique, LOUD and impactful cinematic style. Their partnership has resulted in several acclaimed films, including "Bliss," a psychedelic horror film that explores the descent of an artist into madness; "VFW," a gritty, action-packed thriller about war veterans defending their local VFW post from a drug-addled gang; and most recently, "Christmas Bloody Christmas," a festive yet terrifying holiday horror film that's streaming on Shudder. These collaborations have resonated with audiences and critics alike, showcasing Ethier's ability to enhance Begos' visionary storytelling through his editing.  Ethier's impressive filmography includes notable titles such as Oz Perkins' "Gretel & Hansel" for Orion Pictures and MGM, a dark reimagining of the classic fairy tale; William Brent Bell's "Orphan: First Kill," the prequel to the cult horror favorite for Paramount Pictures; Henry Dunham's "The Standoff at Sparrow Creek," a tense, dialogue-driven thriller about a mass shooting at a police funeral; and "Mayhem," a high-octane action horror film starring Steven Yeun that highlights his versatility as an editor of action and comedy. In 2021, Ethier's contributions to film editing were formally recognized when he was invited to join American Cinema Editors (ACE), an honor that signifies his standing in the industry amongst his peers. His career is marked by a commitment to excellence and a passion for storytelling, making him one of the most respected and sought-after editors in independent genre cinema.

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Editors - Andrew S. Eisen ACE, Terel Gibson ACE and Katheryn Naranjo

Hiring editors for SKELETON CREW was akin to casting actors, considering how essential each editor's background and style would be in shaping the series. Kat, for instance, found her mark through her work on STRANGER THINGS which resonated with the show's tone of adventure. Meanwhile, Terrell's experience with Marvel projects like HAWKEYE proved that he would be up to the demands and rigors of a VFX heavy tv series.  Finally, Andrew's extensive Star Wars history positioned him as invaluable in guiding the new team. Capturing the right tone was crucial for the editors, as the show combined elements of adventure and comedy with darker themes. Andrew, Kat and Terel discussed the significance of striking a balance, especially when the storyline demanded a shift from lightheartedness to seriousness. Jude Law's transformation from a seemingly rogue character to a complex anti-hero was a key point of focus, with the team ensuring his evolution was believable and engaging. SKELETON CREW, created by Christopher Ford and Jon Watts, takes place in the same time frame as THE MANDALORIAN, post RETURN OF THE JEDI, pre-THE FORCE AWAKENS.  It's a coming-of-age story about four kids who make a discovery on their home planet that leads them to getting lost in the galaxy and the adventure to find their way back home.

ANDREW S. EISEN, ACE

Considering the cinematic approach that Andrew applies to THE MANDALORIAN, THE BOOK OF BOBA FETT and SKELETON CREW, it's no surprise to see his name in the credits of big sci-fi / action films like TRANSFORMERS: AGE OF EXTINCTION and THE GUARDIANS OF THE GALAXY VOL 2.

TEREL GIBSON, ACE

Prior to joining the Star Wars universe for SKELETON CREW, Terel dropped by the MCU to cut HAWKEYE. He's also known for his feature work on movies such as CUCKOO (2024), SORRY TO BOTHER YOU (2018), READY OR NOT (2019) and THE FIGHTER (2010).

KAT NARANJO

Kat started her journey on Season 1 of STRANGER THINGS as an assistant, but over the following seasons started picking up full time editorial duties as well.  She also assisted editor Dean Zimmerman ACE on the features, THE ADAM PROJECT and FREE GUY.  Earlier in her career, Kat assisted on HALT AND CATCH FIRE and served as post coordinator on ONE TREE HILL.

The Credits

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Listen to Andrew talk about his work on THE MANDALORIAN Season One (Part One and Two) and Season Two, as well as THE BOOK OF BOBA FETT

Hear Terel discuss cutting the Marvel series, HAWKEYE

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