Cruella editor, Tatiana Riegel ACE and director Craig Gillespie were already quite familiar with one another prior to their work on Disney's most recent reimagining of its iconic I.P..  Starting with Lars and the Real Girl in 2007, the two also worked together on Fright Night, Million Dollar Arm, The Finest Hours and the critically acclaimed I, Tonya.  I, Tonya also notched Tatiana an ACE Eddie award and an Oscar® nomination for Best Film Editing.

Set in 1970s London amidst the punk rock revolution, Cruella follows a young grifter named Estella.  Recently orphaned, Estella befriends a pair of juvenile thieves and together they are able to build a life for themselves on the streets of London.  One day, while toiling away in London's Liberty department store, Estella’s flair for fashion catches the eye of legendary designer, Baroness von Hellman, but their relationship sets in motion a course of events and revelations that will cause Estella to become the raucous and revenge-bent "Cruella".

In our discussion with Cruella editor, Tatiana Riegel ACE we talk about:

• The sometimes necessary evil of voice overs
• Delaying the use of audio until later in the edit
• Keeping an eye on continuity in the quiet scenes
• Eavesdropping on conversations between Quentin Tarantino and editor Sally Menke during Pulp Fiction

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