Art of the Cut

Today on Art of the Cut we speak with the editors of the Emmy nominated Netflix mini-series, Death by Lightning. With us today are Joseph Krings, ACE, Anna Hauger, ACE, Michael Ruscio, ACE, and Joe Leonard, ACE. Additional Editors, Bridget Case and Derek Desmond were not on the call, but we want to acknowledge their part on the series and in the show’s Emmy nomination.
Anna has been on Art of the Cut in the past for her work on The Three Body Problem and for Dune Prophecy. She’s also been nominated for Emmys for Watchmen and Station Eleven. She’s also edited on Westworld.
Michael was on Art of the Cut with Anna for The Three Body Problem, for which he was nominated for an Emmy. His other work includes Altered Carbon, House of Cards, and Homeland.
Joseph Krings has also edited Captain Fantastic, Supermensch, and Rosemead, among others. 
Joe Leonard has been nominated for Emmys for Gaslit and Glee. His other work includes Dark Matter, Mr. Robot, The Man in the High Castle, and Empire.
Today on the show, a discussion of how to keep a historical drama feeling contemporary, how performance can affect the need for a flashback, and the impossibility of judging editing.
If you'd like to read along with this podcast and see exclusive images from post, check out the BorisFX blog:
borisfx.com/blog/aotc

Today on Art of the Cut we discuss Olivia Wilde’s film, The Invite, with its two editors, Yorgos Mavropsaridis, ACE, and Anthony “Ant” Boys, ACE. Yorgos worked on the edit through the assembly cut then Ant took over for most of the rest of the edit. 
Yorgos has been on Art of the Cut before multiple times for Bugonia, Poor Things, and The Favourite. Yorgos is a Greek editor and graduate of the London Film School. He was nominated for Oscars, BAFTAs, and ACE Eddies, for Poor Things and The Favourite. His other films include Kinds of Kindness, Killing of the Sacred Deer, and The Lobster.
Ant has been nominated for a BAFTA for The Thick of It. He won an ACE Eddie for the TV series, Veep. He’s also edited The Marvelous Mrs. Maisel and The Great, among other work. 
Today on the show, a discussion of the rules of cutting comedy, how to talk about the performance of an actor who’s also the director, and the difficulty of editing overlapping dialogue.
If you're interested in reading along with this podcast and seeing the movie clips that were discussed, you can visit the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Greg Ng about editing the Kane Parson’s indie phenomenon, Backrooms.
Greg was last on Art of the Cut for LongLegs. Greg is the nominee and winner of numerous Canadian Screen Awards, Canadian Cinema Editors Awards, and Leo Awards. His other work includes The Monkey, Keeper, and the TV series, Bones of Crows.
We’ll be talking about how Backrooms was sculpted in the cutting room by structuring the time between the backrooms and the rest of the world, editing within a “Method cutting room,” and patiently basking in the mystery of a “Lovecraftian space.”
If you'd like to read along with this podcast and see cool images - like the cutting room decked out in the yellow wallpaper that covers the backrooms - visit the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut we speak with editor Chris Tonick about the feature-film, The Furious.
Chris has edited films like Kung Fu Games, Trigger Warning, and Black Friday. He was a producer on the Walter Murch documentary, Her Name Was Moviola. He’s also been part of the post teams of The Suicide Squad, Once Upon a Time in Hollywood, and John Wick 2.
On this episode, we're discussing - among other things - why the biggest job in this action movie wasn’t cutting the action, how the film’s most memorable moment came from trying out a left-field idea, and how fight scenes are like pop songs.
If you'd like to read along with this interview and see the trailer, clips, and exclusive images, check out the BorisFX blog site:
BorisFX.com/blog/aotc

Today on Art of the Cut, we speak with Terel Gibson, ACE about editing Boots Riley’s feature film, “I Love Boosters”. 
Terel has been on Art of the Cut before for his work on the TV series “Skeleton Crew.”  His other work includes Sorry to Bother You, Ready or Not, Hawkeye, and The Astronaut. 
If you're interested in reading along with today's podcast, check out the BorisFX blog site.
borisfx.com/blog/aotc