The Rough Cut – Details, episodes & analysis

Jake Roberts ACE, Will Files, Polly McKinnon and Lee Gilmore

Although the ALIEN: ROMULUS postproduction team of Jake Roberts ACE, Will Files, Polly McKinnon and Lee Gilmore came into this project with a wealth of knowledge and experience amongst them, they still learned a thing or two from director Fede Álvarez, including Fede's not-so-secret formula for jump scares, as well as the notion that clear dialogue isn't always as important as gripping action.  Plus, they reveal the hidden intent of Álvarez to split ALIEN and ALIENS into the two sides of the REMUS/ROMULUS space station.

ALIEN: ROMULUS is the ninth installment in the Alien franchise, set between the events of ALIEN (1979) and ALIENS (1986). The film follows a group of downtrodden young space colonists in pursuit of better life conditions.  During the course of their escape from endless servitude on a mining colony, they encounter hostile creatures while scavenging a derelict space station.

JAKE ROBERTS, ACE

After his work on CITADEL (2012), STARRED UP (2013), THE RIOT CLUB (2014) and BROOKLYN (2015), Roberts earned an Oscar nomination for Best Film Editing for his work on HELL OR HIGH WATER (2016) starring Chris Pine. The movie also garnered him a nomination for an Independent Spirit Award.  Roberts then cut OUTLAW KING (2018) for Netflix directed by David Mackenzie.  He then began collaborating with director Alex Garland, editing his 2020 miniseries DEVS as well as his film, MEN (2022).  Prior to ALIEN: ROMULUS, Jake cut Garland's CIVIL WAR (2024).

WILL FILES

Will Files is known for his work on THE INVISIBLE MAN (2020), VENOM (2018), WAR FOR THE PLANET OF THE APES (2017), STAR WARS:  EPISODE VII – THE FORCE AWAKENS (2017) and CLOVERFIELD (2008).

POLLY McKINNON

Polly McKinnon is known for DISTRICT 9 (2009), FORD V FERRARI (2019) and INDIANA JONES AND THE DIAL OF DESTINY (2023).  In 2019 she won a Golden Reel Award for her sound editing on EXTINCTION (2018).

LEE GILMORE

Lee Gilmore is known for BLADE RUNNER 2049 (2017), DUNE (2021) and THE BATMAN (2022).  Gilmore also won an Emmy for his work on the feature film, PREY (2022).

Editing Alien: Romulus

In our discussion with the Alien: Romulus postproduction team, we talk about:

• Bringing the noise to the set
• Clubbing with Fincher
• Going "Holm" again
• The sweet sound of saturated seventies screams
• Fede's formula for jump scares

The Credits

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Listen to Jake talk about his work on CIVIL WAR

Hear Will discuss the psychology of SOUND DESIGN and how he employed it on GHOSTBUSTERS: AFTERLIFE and THE BATMAN

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Editor - Eliot Knapman

FURIOSA editor Eliot Knapman is no stranger to the post-apocalyptic postproduction of a Mad Max movie, having previously worked as ACE editor Margaret "Margie" Sixel's second assistant on MAD MAX: FURY ROAD.  For director George Miller's latest film in the franchise, not only was Eliot tapped to be co-editor with Sixel, but was there on set with Miller throughout production doing the first assembly under what had to be fun, but arduous, conditions.

FURIOSA is the fifth installment in Miller's Mad Max franchise, and the first not focused on series protagonist Max Rockatansky, instead acting as both a spin-off prequel to MAD MAX: FURY ROAD (2015) and an origin story for the Fury Road character Furiosa, portrayed by both Anya Taylor-Joy and Alyla Browne in the prequel.  Set 15 to 20 years before the events of Fury Road, the film follows the title character's life for over a decade, from her kidnapping by the forces of warlord Dementus (Chris Hemsworth) to her ascension to the rank of Imperator.

Eliot Knapman Prior to moving up to the editor's chair on FURIOSA, Eliot worked as a first assistant on such films as THREE THOUSAND YEARS OF LONGING (2022) and THE LEGO BATMAN MOVIE (2017), and as a second assistant on films like MAD MAX: FURY ROAD (2015) and THE GREAT GATSBY (2013). Editing FURIOSA: A MAD MAX SAGA

In our discussion with FURIOSA editor Eliot Knapman, we talk about:

• Origin stories on screen and in the cutting room
• Q-Taking it all in
• Digging through the ToyBox to build the War Rig
• Keeping your protagonist active
• Having fun with frame rates

The Credits

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Editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher

The Fall Guy editing team of editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher once again find themselves in the cutting room of a David Leitch action spectacular.  With this film being the fifth the trio has worked on together; their postproduction process is like a highly coordinated stunt sequence.

THE FALL GUY, directed by David Leitch from a script written by Drew Pearce, is loosely based on the 1980's TV series about a stuntman who moonlights as a bounty hunter.  The film version follows a stuntman (Ryan Gosling) working on his ex-girlfriend's (Emily Blunt) directorial debut action film, only to find himself involved in a conspiracy surrounding the film's lead actor (Aaron Taylor-Johnson).

ELÍSABET RONALDSDÓTTIR, ACE

Elísabet Ronaldsdóttir is an award winning tv and film editor, who has worked on over 50 feature films, television programs, documentaries, as well as animated features. She is best known for her collaborations with film directors David Leitch for BULLET TRAIN (2023), JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018) and Baltasar Kormákur for JAR CITY (2006), THE SEA (2002) and CONTRABAND (2012). 

Although Elísabet edited various movies throughout her career, she developed international recognition for her ability to balance humor and seriousness in action features. She built her international prominence by editing CONTRABAND (2012) and later JOHN WICK (2014), which also began her career-long partnerships with Baltasar Kormákur and David Leitch. She first started in the industry by editing Icelandic tv programs, shows, and films.

Elísabet is also actively participating and changing the industry. She is a founding member and two-term inaugural chairwoman of Women in Film & Television Iceland (WIFT Iceland). In addition, Elísabet has sat on the Icelandic Producers Guild board and served for two years as chairwoman of The Icelandic Film & TV Academy in 2005 and 2006. Since 2007 Elísabet has been a board member of the prominent Filmmakers at Reykjavík International Film Festival (RIFF). Born and raised in Reykjavik Iceland, Elísabet is graduate of the London Film School.

MATT ABSHER

Assistant editor Matt Absher has been Elísabet Ronaldsdóttir's right hand man in the cutting room for seven films spanning eleven years.   In addition to their most recent work on David Leitch's THE FALL GUY, the two collaborated on; THE MISSIONARY (2013), JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018), SHANG-CHI and THE LEGEND OF THE TEN RINGS (2021) and KATE (2021).  Aside from his work with Elísabet, Matt has also assisted editors such as Stephen Mirrione on THE INFORMANT! (2009) and Nick Monsour on NOPE (2022).

Editing THE FALL GUY

In our discussion with The Fall Guy editing team of editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher, we talk about:

• Defining David Leitch
• Intercutting to the chase
• Taming a triad of tones
• Syncing split screens
• Voice over and out

The Credits

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David Hunter Jr. and Daniel Hunter

David Hunter Jr., Host of POST IN BLACK, and his brother Daniel Hunter, Founder of POST IN BLACK, joined forces with Executive Producer Tatiana Johnson to create a podcast that has quickly caught fire amongst the film and tv post community.  In featuring African American creative professionals working in the world of media and entertainment, their mission is to reach out to a new generation who may not be aware that a variety of career opportunities exist for them not just in front of the camera, but behind the lens as well.  In this special edition of The Rough Cut, David and Daniel not only give us the scoop on "the guys behind the podcast", but also some new perspectives on the lack of diversity in the industry today.

DAVID HUNTER JR.

David Hunter Jr. is an actor, writer and producer born in Washington DC and raised in the surrounding Metro Area. His acting training began on the stage at Hampton University, a prestigious HBCU located in Hampton, Virginia. From there, David performed on stage in DC performing at the Historic Lincoln Theatre, Atlas Theatre and the DC Improv where he performed monthly with a local improv troupe.

Since relocating to LA, David has voiced campaigns for Blavity, Google, Samsung along with a variety of Commercials and animated projects. He also served as the "Voice of God" for the theatre staff at the Dolby Theatre (formerly Kodak) for the Oscars for over 10 years.

In 2016, David's versatility shined bright as he created, co-wrote and starred in the Web Series, "The Process". The series had 2 seasons and aired on numerous streaming platforms.

In 2018, David auditioned for and was accepted into the inaugural class of the Los Angeles branch of the award-winning Identity School of Acting. While there, he was nominated for Best Actor in his group's showcase.

The ability to create has allowed David to make a lane for himself that lets others see him as more than just an actor. This lead to David starting his own production company, Made For More Entertainment. Underneath the Umbrella of Made For More, David hosts a popular Podcast / Web Series called "Post In Black". This podcast highlights the work of African Americans working behind the scenes in Post Production with guests including the likes of Terilyn Shropshire (Jumping The Broom, When They See Us, The Old Guard) and Daysha Broadway (The Forty Year-Old Version, Insecure, A Black Lady Sketch Show)

David has a genuine love for kids and performed Children's Theatre in the LA area for LAUSD for over 8 years with the theatre company, Enrichment Works. He has also worked as an elementary school teacher for 1st and 2nd grade as well as a middle school teacher for 6th, 7th and 8th grade. He loves to give back to the youth through the arts as well as one-on-one mentorship.

DANIEL HUNTER

When he's not doing his full time job of being David Hunter Jr.'s brother, Philadelphia-based Daniel works as both a sound postproduction professional as well as a driving force behind POST IN BLACK.

Talking POST IN BLACK

In our discussion with David Hunter Jr. and Daniel Hunter, we talk about:

• How you can't desire something you weren't aware of
• That winding road from school teacher, to tour guide, to actor, to...
• The time-tested approach of "thinking globally and acting locally"
• Sound design being just like music composing with sound effects
• The importance of above the line talent crediting their crews

The Credits

Celebrate Black excellence behind the lens by visiting POST IN BLACK.

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Editor - Vikash Patel OZARK editor Vikash Patel not only has the distinction of cutting twenty episodes over four seasons of the hit Netflix series, but also receiving an Emmy® nomination for his editing on a standout episode that featured the critically-acclaimed performance of guest actor Tom Pelphrey, playing the part of Wendy Byrde's (Laura Linney) brother, Ben.  In addition to his contributions on OZARK, Viks has also lent his storytelling talents to; THE MORNING SHOW (2019), BATES MOTEL (2015-16), LONGMIRE (2012-14), SMALLVILLE (2009-11) and TOP CHEF (2006-07).  Viks also cut the pilot for the TNT series, SNOWPIERCER (2020).

The plot of OZARK is built around financial advisor Marty Byrde (Jason Bateman) who, after a money laundering scheme for a Mexican drug cartel goes wrong, proposes to make amends by offering to set up a bigger laundering operation in the Lake of the Ozarks region of central Missouri. Marty suddenly moves his family from the Chicago suburb of Naperville to the remote summer resort community of Osage Beach, Missouri.  When the Byrdes arrive in Missouri, they become entangled with local criminals, including the Langmore and Snell families, and later the Kansas City Mafia.

Editing OZARK

In our discussion with OZARK editor, Vikash Patel we talk about:

• Working with directors who are new to a series
• Living in two-shots and wide shots to let the performances play out
• How premieres and finales differ from other episodes
• Jason Bateman's interaction with post while producing, directing and starring in OZARK
• What Viks will take away from his experience on OZARK

The Credits

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Editor - Eddie Hamilton ACE

TOP GUN: MAVERICK editor Eddie Hamilton ACE has been immersed in the TCEU (Tom Cruise Extended Universe) since 2015 when Eddie took the editorial helm of MISSION IMPOSSIBLE: ROGUE NATION.  And with the exception of a quick return to his roots with director Matthew Vaughn for KINGSMAN: THE GOLDEN CIRCLE (2017), Eddie has spent all his subsequent time working on MISSION IMPOSSIBLE: FALLOUT (2018), TOP GUN: MAVERICK (2022) and the upcoming MISSION IMPOSSIBLE: DEAD RECKONING PARTS I (2023) and II (2024).  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today.

TOP GUN: MAVERICK stars Tom Cruise, reprising his role as Captain Pete "Maverick" Mitchell from TOP GUN (1986).  The story follows Maverick's return to the United States Navy Strike Fighter Tactics Instructor program (also known as "Top Gun") where he must confront his past as he trains a group of younger fighter pilots, among them the son of Maverick's deceased best friend Goose.

Editing TOP GUN: MAVERICK

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

• Serving the audience broccoli before the brownie
• Referencing the incredible sound design from the original Top Gun
• Hitting the emotional notes for Tom Cruise
• Wrangling over 800 hours of footage
• How to build a better dogfight

The Credits

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Hear Eddie talk about his work on Mission Impossible: Fallout

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Editors - Joseph Krings ACE and Jasmin Way

THE PENTAVERATE editors, Joseph Krings ACE and Jasmin Way, first met when Jasmin assisted Joe on the indie feature, THE REBEL IN THE RYE (2017); a biopic about reclusive author J.D. Salinger.  Joe was so impressed with the way that Jasmin cut scenes for that film that he knew she was the right choice to join him as co-editor on Myers' new comedy series.

THE PENTAVERATE was created by Mike Myers for Netflix and features Myers playing eight different parts throughout the six-episode series.  Initially mentioned in Myers' film, SO I MARRIED AN AXE MURDERER (1993), THE PENTAVERATE is about a Canadian journalist who tries to uncover the truth about a secret society of five men who have controlled the world since 1347.

JOSEPH KRINGS ACE

Joe Krings began his career as a commercial editor in New York City, but quickly grew restless knowing that his real passion was for long form film and television projects.  One of Joe's earliest films was a documentary called SUPERMENSCH (2013), helmed by THE PENTAVERATE creator, Mike Myers.  From there Joe would go on to make a name for himself with the dramedy feature, CAPTAIN FANTASTIC (2016) and indie films such as the aforementioned THE REBEL IN THE RYE (2017) and Sundance stand-outs, AFTER THE WEDDING (2019) and THE EVENING HOUR (2020).

JASMIN WAY

Jasmin Way is a New York-based film and television editor. Her first feature, SOLACE (2018) premiered at the Los Angeles Film Festival and won Best Ensemble Cast. Her second documentary feature was the critically-acclaimed THIS CHANGES EVERYTHING (2018) about the history of women in film behind the scenes and in front of the camera. It premiered at the Toronto Film Festival and was the runner-up for the People's Choice award. In addition to her work on THE PENTAVERATE, Jasmin also worked as an editor on the latest season of David Letterman's MY NEXT GUEST NEEDS NO INTRODUCTION (2022).

Editing THE PENTAVERATE

In our discussion with THE PENTAVERATE editors Joseph Krings ACE and Jasmin Way, we talk about:

• The challenge of editing a show where one actor plays eight characters
• Incorporating Netflix's revolutionary "Fix Plix" technology
• Cutting out profanity to increase the vulgarity
• The importance of diction in comedy
• Why you should never follow up an orgy scene with a shot of children

The Credits

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Editor - Todd Downing ACE

RUSSIAN DOLL editor, Todd Downing ACE returns to THE ROUGH CUT, having appeared previously in 2020 to talk about his work on the HULU series, MRS. AMERICA.  In that series, one of Todd's many standout moments was a sequence he cut that featured a conservative 70's housewife going on a drug-fueled, psychedelic trip at the National Women's Conference.  Todd also had a similar episode in the work he did on the series DIFFICULT PEOPLE, on Hulu as well.  Put those two together with the mind-bending journeys Todd navigates on RUSSIAN DOLL and you start to see that Todd Downing has carved out quite a niche for himself as the "go to" editor for shows that feature women going on existential and introspective adventures.

Season 1 of RUSSIAN DOLL tells the story of a woman named Nadia who is caught in a time loop as the guest of honor at a seemingly inescapable birthday party one night in New York City. She dies repeatedly, always restarting at the same moment at the party.  As she tries to figure out what is happening to her, she meets a man who is experiencing the same thing in a different event.

In Season 2, Nadia is ten days away from celebrating her 40th  birthday when the NYC "6" Train sends her back in time to 1982. She soon discovers she is trapped inside the body of her mother, Lenora, who is pregnant with Nadia.  Having learned what a significant impact it had on her family,  Nadia decides to pursue the gold Krugerrands her mother lost that same year, in hopes of changing the course of her family’s history.

Editing RUSSIAN DOLL

In our discussion with RUSSIAN DOLL editor, Todd Downing ACE we talk about:

• Riding the wave of comedy vs drama within a show
• The kind of notes you get from a showrunner who is also the star
• Managing the story logic of characters looping through time and inhabiting other characters
• Natasha's Extraordinary Playlist
• Dealing with VFX "supply chain" issues

The Credits

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Hear Todd's interview with fellow ACE editors, Emily E. Greene and Robert Komatusu for MRS. AMERICA.

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Editor - Tia Nolan ACE

In creating DR. STRANGE IN THE MULTIVERSE OF MADNESS, editor Tia Nolan ACE and editor Bob Murawski ACE (along with director Sam Raimi) created a film that not only stands on its own, but also picks things up where other MCU projects previously left off.  WANDAVISION, SPIDER-MAN: NO WAY HOME and the Disney+ series, LOKI all served to introduce the concept of the multiverse to Marvel fans.  And in the case of WANDAVISION and SPIDER-MAN: NO WAY HOME, put Dr. Strange and Wanda Maximoff on a collision course for the events that take place in Multiverse of Madness.

DR. STRANGE IN THE MULTIVERSE OF MADNESS is the sequel to DOCTOR STRANGE (2016) and the 28th film in the Marvel Cinematic Universe. The film was directed by Sam Raimi, written by Michael Waldron, and stars Benedict Cumberbatch as Stephen Strange, alongside Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez, Michael Stuhlbarg, and Rachel McAdams. In the film, Strange travels into the Multiverse to protect America Chavez (Gomez), a young girl capable of travelling the Multiverse, from Wanda Maximoff (Olsen).

Editing DR. STRANGE IN THE MULTIVERSE OF MADNESS

In our discussion with editor Tia Nolan, we talk about:

• Making a "rock witch goddess" with Danny Elfman
• Doing your Marvel "homework"
• How to manage a multiverse in editorial
• How Sam Raimi distinguishes between "clangs"
• Lessons learned from legendary editor, Richard Marks ACE

The Credits

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Editors - Ahmed Hafez, Joan Sobel ACE and Cedric Nairn-Smith

Marvel's MOON KNIGHT editing team brought together their diverse background of experiences and talents to deliver a truly new take on what a superhero series can be.  Working together for the first time, they overcame the challenge of collaborating over great distances, with editor Joan Sobel working from home in Los Angeles and editors Ahmed Hafez and Cedric Nairn-Smith both in Budapest, but still mostly separate from one another.

MOON KNIGHT follows Steven Grant, a mild-mannered gift-shop employee, who becomes plagued with blackouts and memories of another life.  Through those visions, Steven discovers he has dissociative identity disorder and shares a body with a mercenary named Marc Spector. As Steven/Marc's enemies converge upon them, they must navigate their complex identities while thrust into a deadly mystery among the powerful gods of Egypt.

AHMED HAFEZ

With an extensive career spanning more than 20 years full of local and international works in the film industry, Egyptian film editor Ahmed Hafez has presented the final cuts of over 20 films and edited numerous TV commercials and music videos. Hafez started his editing career with many TV commercials and music videos. He won 12 local and international awards for his work in six films. Hafez received international acclaim for his work in CLASH (2016) by director Mohamed Diab, which opened the Un Certain Regard section at the 69th Cannes Film Festival. American film critic Deborah Young described his editing style as "rapid-fire editing" in her Clash Cannes review in The Hollywood Reporter. For his work in Clash, Hafez received three awards at the Carthage Film Festival (JCC), Cairo Film Society Festival and the Egyptian National Film Festival.

JOAN SOBEL ACE

Editor Joan Sobel ACE made her first foray into tv editing with MOON KNIGHT.  Up until then it had all been feature work as both an assistant on films such as; BOOGIE NIGHTS (1997), ALL THE PRETTY HORSES (2000) and KILL BILL: Vol. 1 & 2 (2003-2004).  From there she went on to work as an editor on NOCTURNAL ANIMALS (2016), WIDOWS (2018) and THE RHYTHM SECTION (2020).

CEDRIC NAIRN-SMITH

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

Editing Marvel's MOON KNIGHT

In our discussion with Marvel's MOON KNIGHT editing team, we talk about:

• Breaking away from the MCU and starting fresh
• The onboarding process for a Marvel editor
• Replacing the Marvel theme with needle drops
• Remote collaboration between Budapest and LA
• The importance of push-ups in the editing room

The Credits

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Listen to editor Cedric Nairn-Smith discuss his work on THE BOYS

Check out other Rough Cut podcasts on Marvel series - WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye

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