Art of the Cut

In today’s episode of Art of the Cut, we’re speaking with Joseph Jett Sally, editor of the much-anticipated continuation of the Matrix saga—The Matrix Resurrections—directed by Lana Wachowski. Sally has edited films like Ninja Assassin and Breaking In. He was also editor on the TV series Work in Progress, Messiah, Sense8, and Gideon’s Crossing. As a VFX editor, he worked on The Amazing Spider-Man 2, Ghost Rider: Spirit of Vengeance, and The A-Team, and he was an assistant editor on Star Wars Revenge of the Sith, Attack of the Clones, and Phantom Menace. 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 Jabez Olssen about editing the Peter Jackson documentary, The Beatles: Get Back which is airing now on Disney+. I last spoke with Jabez when he edited Star Wars: Rogue One. Jabez’s early career included being a first assistant editor on The Lord of the Rings: The Fellowship of the Ring. He was also an additional editor working with the legendary editor, Michael Kahn, and director Steven Spielberg, on The Adventures of Tintin. His work as an editor includes The Lovely Bones, all three Hobbit movies and Jackson’s last documentary, They Shall Not Grow Old. He was nominated for a BAFTA for his work as Additional Editor on The Lord of the Rings: The Two Towers. 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 is a very special episode of Art of the Cut, as we celebrate the 20th anniversary The Lord of the Rings: Fellowship of the Ring. To look back on this cinematic milestone, we're sitting down with John Gilbert, ACE, the editor who collaborated with Peter Jackson on The Fellowship of the Ring. Gilbert's work on this film earned him nominations for a BAFTA, an ACE Eddie, and an Oscar. Since editing The Lord of the Rings, Gilbert has cut films including Bridge to Terabithia, The Bank Job, The Killer Elite and Chasing Mavericks. John has been a previous guest on Art of the Cut for his work on the movies Adrift and Hacksaw Ridge—for which he won a BAFTA and an Oscar, and for which he was nominated for an ACE Eddie. 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 Andrew Weisblum, ACE and Myron Kerstein, ACE about editing Lin Manuel Miranda’s debut directorial project, tick, tick…BOOM! I’ve spoken with Andrew and Myron several times before. Andrew for Alice Through the Looking Glass and, most recently, for The French Dispatch. Then Myron for Crazy Rich Asians (for which he was nominated for an ACE Eddie) and In the Heights. Myron’s other work includes the films Going in Style, Wish I was Here, Glee: The 3D Concert Movie, Fame, and Garden State among others. Andrew’s filmography includes The Darjeeling Limited, The Wrestler, the ACE Eddie-nominated Fantastic Mister Fox, the BAFTA, ACE Eddie- and Oscar-nominated Black Swan, the ACE Eddie-nominated Isle of Dogs and Moonrise Kingdom. He also was nominated for an ACE Eddie for editing an episode of the TV series SMASH. 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 Dana E. Glauberman, ACE, and Nathan Orloff about their work on Ghostbusters: Afterlife. I last spoke to Dana along with the rest of the editing team for The Mandalorian, and before that for Creed II. Dana was nominated for ACE Eddies for Thank you for Not Smoking, Juno, Up in the Air, Young Adult, and The Mandalorian. Other titles in her filmography include Draft Day, Labor Day, and No Strings Attached. Nathan Orloff’s filmography includes Plan B, and work as an additional or associate editor on The Front Runner, Tully, and 10 Cloverfield Lane. 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 Úna Ní Dhonghaíle, ACE, BFE, about her work on the critically acclaimed Belfast, a semi-autobiographical movie written and directed by Kenneth Branagh. Úna is a BAFTA-winning editor with film credits that include Stan and Ollie, All is True, and Misbehaviour alongside TV shows Three Girls, The Crown, and Les Misérables. Our last chat on Art of the Cut was about editing The Crown, and we’ll hopefully do this again when Branagh’s Death on the Nile is released next year. 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 Dylan Tichenor, ACE, and Craig Wood, ACE, about their work on the latest Marvel extravaganza, Eternals. I last spoke with Dylan when he cut Paul Thomas Anderson’s Phantom Thread. Dylan’s work also includes Boogie Nights, Magnolia, the ACE Eddie-nominated The Royal Tenenbaums, the BAFTA/ACE Eddie-nominated Brokeback Mountain, the ACE Eddie/Oscar-nominated There Will be Blood, and the ACE Eddie/BAFTA/Oscar-nominated Zero Dark Thirty. (And I have no idea where there weren’t nominations for his work on one of my favorite movies, The Assassination of Jesse James by the Coward Robert Ford.) Craig has also been on Art of the Cut before for Ant-Man and The Wasp and Guardians of the Galaxy. He’s won an ACE Eddie for Pirates of the Caribbean: The Curse of The Black Pearl, and has received nominations for the sequels, Dead Man’s Chest and At World’s End alongside Rango and Guardians of the Galaxy. Craig has been working as an editor on film, TV, and music projects since the late 1980s, including projects for Peter Gabriel, Tom Petty, and Janet Jackson. 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.

Australian film and TV editor Paul Machliss, ACE, known for his work in movies like The Gentlemen and Baby Driver, discusses the opening scene of 'Last Night in Soho', enhancing danger through editing techniques, the importance of sound design and challenges with flashing neon lights, editing techniques and challenges in 'Baby Driver', and wrapping up storylines in films.

Today, we’re speaking with Andrew Weisblum, ACE, about the Wes Anderson film, The French Dispatch. I last spoke with Andrew when he edited Alice Through the Looking Glass. Andrew’s filmography is incredibly diverse; The Darjeeling Ltd., The Wrestler, the ACE Eddie-nominated Fantastic Mr. Fox, the BAFTA-, ACE Eddie-, and Oscar-nominated Black Swan, the ACE Eddie-nominated pilot for Smash, the ACE Eddie-nominated Moonrise Kingdom, and he was the supervising editor on the Ace Eddie-nominated Isle of Dogs. He also edited the upcoming Lin-Manuel Miranda film, Tick, Tick... Boom!, with another frequent Art of the Cut guest, Myron Kerstein, ACE. You can bet that we’ll be talking with both of them about that film in a few weeks. 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.

Editor Joe Walker discusses the challenges of adapting the epic novel Dune into a cohesive film, exploring collaboration in filmmaking, the challenges of working remotely during the pandemic, creating a safe space in the cutting room, the importance of sensory moments in the movie, and the editing challenges faced for Dune.