Art of the Cut

In this Art of the Cut special, we talk to Nels Bangerter, the editor of the revealing archival documentary "Riotsville, USA." I last spoke to Nels on Art of the Cut for the release of another documentary "Dick Johnson is Dead." He's also edited documentaries including "Cameraperson," "Let the Fire Burn," "You See Me" and "32 Sounds."  His work has been included on PBS Shows "POV" and on "Dan Rather Reports."  Visit Frame.io Insider to read more about this movie, along with exclusive insider media and photos.

In this Art of the Cut special, we talk to Harrison Atkins, the editor of "Emily the Criminal." The film stars Aubrey Plaza as a woman who slides uneasily into the world of credit card fraud and identity theft, and was written and directed by John Patton Ford. Harrison describes himself as a "holistic filmmaker" wearing numerous hats on many different productions including directing and cinematography, but his editing credits include several indie features including "Lace Crater," "Madeline's Madeline," and "Karmalink." Visit Frame.io Insider to read more about this movie, along with exclusive insider media and photos.

In this Art of the Cut special, we talk to the editor of "Alice," Byron Smith, ACE. Byron started his award-winning career early, by winning the Student ACE Eddie more than 20 years ago. He's also been nominated for an Emmy and an ACE Eddie for his work on "House of Cards." His work on television includes editing for episodes of "Nip/Tuck," "Big Love," "True Detective," "Castle," "Mindhunter," "Altered Carbon," and even working as a supervising producer on "Star Trek: Discovery." He also edited the feature film "Running with Scissors." Visit Frame.io Insider to read more about this movie, along with exclusive insider media and photos.

Today I’m speaking with editor Andy Jurgensen, editor of Paul Thomas Anderson’s Licorice Pizza. Andy’s work on the film has garnered him BAFTA and ACE Eddie nominations for Best Editing. Andy has been part of Anderson’s post team on Inherent Vice, on which he served as Assistant Editor and on Phantom Thread, on which he worked as Associate Editor. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this Art of the Cut interview, we discuss Guillermo del Toro’s film, Nightmare Alley with editor Cam McLauchlin. Cam is a Toronto-based editor who has worked on numerous previous del Toro films in various capacities, including working as associate editor, title designer, and music editor on Shape of Water. His other work as editor includes features films: Teen Spirit and The Void, and TV including The Girlfriend Experience and The Strain. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today, we're speaking with the editors of the fantastic documentary, Roadrunner: A Film About Anthony Bourdain, which examines the life and death of the world-famous chef and author. The film was directed by Morgan Neville, who also directed the Fred Rogers documentary, Won't You Be My Neighbor? The editors of Roadrunner are Eileen Meyer and Aaron Wickenden, and I've had them both on Art of the Cut in the past—Eileen for Crip Camp, and Aaron for a doc called Hail Satan. Eileen's other editing work includes Best of Enemies: Buckley vs. Vidal, Alabama Bound, and Television Event. And she was an additional editor on Clive Davis: The Soundtrack of Our Lives. Her TV work includes an episode of The First 48 and the documentary mini-series The Devil Next Door. Aaron's worked with Eileen before on both Best of Enemies and Television Event. His filmography also includes The Trials of Muhammad Ali, the Orson Welles documentary They'll Love Me When I'm Dead, the aforementioned Fred Rogers documentary Won't You Be My Neighbor? and the Michelle Obama documentary Becoming. Also episodes of Frontline and POV. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we're speaking with Oscar nominee Pamela Martin ACE, the editor of the film King Richard, starring Will Smith as the father of tennis greats Venus and Serena Williams. Ms. Martin was nominated for an ACE Eddie for Little Miss Sunshine and was nominated for another ACE Eddie and an Oscar for The Fighter. Her other films include Downhill, Battle of the Sexes, and Free State of Jones. She's also cut TV, including the pilot for Weeds. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Peter Sciberras, the editor of Jane Campion’s highly acclaimed film The Power of the Dog. Peter has received great critical recognition for his early Australian films Hail, The Rover, and The King. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

This time, multi-Oscar nominee Hank Corwin, ACE, renowned for his editing on acclaimed films like 'The Big Short', shares insights from his work on 'Don't Look Up'. He discusses the art of blending sound and minimalistic scores to enhance emotional depth. Corwin also highlights the strategic use of jump cuts and emotional arcs, explaining how editing can shape storytelling’s tension and humor. Additionally, he dives into the metaphorical use of nature shots and the dynamics of energetic cuts that keep viewers engaged in the narrative.

In today’s episode of Art of the Cut, we’re speaking with film editor Rob Hall about his work with colleague Jason Ballantine, ACE on The King’s Man. Rob’s filmography includes feature films Final Score, Bobby, Son of God, Penguins, and The Tournament, among others. Also TV including Works on Fire, The ABC Murders, and Waco: Madman or Messiah. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.