Art of the Cut

Today we're speaking with Tom Eagles, ACE, about the Jeymes Samuel film "The Harder They Fall," which is available on Netflix. I last spoke to Tom about winning the 2020 ACE Eddie award for best-edited feature film for his work on "Jojo Rabbit," which was also nominated for a BAFTA and an Oscar. Tom has also edited films like "Hunt for the Wilderpeople" and TV series "What We Do in the Shadows," "Ash vs. The Evil Dead," and "Spartacus: Blood and Sand" Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Tom Cross, editor of No Time to Die, and Elliot Graham, editor of Molly's Game and many other films, discuss their experiences working on the final James Bond film. They talk about their collaborative process with the director, their approach to editing different genres, and their experimentation with music. The assistant editors also discuss their role and the importance of establishing workflows. The podcast also covers topics such as editing in a generic bin, the dailies and delivery process, and the preparations made before shooting the film.

Today we’re speaking with Chris Tellefsen, ACE about editing The Many Saints of Newark: A Soprano’s Story. Chris and I have spoken before about his editing on A Quiet Place and Assassin’s Creed, and he’s been nominated for several ACE Eddies for titles including Analyze This, Man on the Moon, Joy, and Moneyball (which also picked up an Oscar nomination). He also won an HPA Award for A Quiet Place. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others 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 Geoff O'Brien and Pierre Takal who were nominated for a primetime Emmy for outstanding picture editing for a non-fiction program for the New York Times Presents documentary Framing Britney Spears. Geoff’s career has spanned more than 20 years; last year, he won an Emmy for news and documentary for his work on the series, the weekly. He also cut three other documentaries in the New York Times Present series as well as shows for Frontline, VH1, and Showtime. Pierre won not one, not two, but three Emmys for news and documentary programs last year and, showing some range, was nominated for a Golden Reel Award for Motion Picture Sound Editors and has been nominated for Emmys going back 20 years. He's also cut three other documentaries in the New York Times Presents series. He edited Supersize Me 2, the sequel to the blockbuster documentary, and he’s cut for Frontline, so we're talking with two guys with some serious doc chops. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today's episode of Art of the Cut, we're speaking with Joshua L. Pearson about cutting the documentary Summer of Soul about the so-called Harlem Woodstock. Joshua has been nominated for three Emmys for his sound work on the documentary Under African Skies and for his sound work and picture editing on the nonfiction program What Happened, Miss Simone? He was also nominated for an ACE Eddie for Best Edited documentary for Keith Richards: Under the Influence. He also edited the Ron Howard documentary Made in America and has also cut scripted narrative like Tears of a King and Shrek the Musical. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today's episode of Art of the Cut, we sit down with the editors of Marvel's first Asian-led action feature, Shang-Chi and the Legend of the Ten Rings, Nat Sanders, ACE, Elízabet Ronaldsdóttir, ACE, and Harry Yoon, ACE. Nat Sanders has worked with director Dustin Daniel Cretton multiple times, as well as with Barry Jenkins on the Oscar-winning Moonlight and If Beale Street Could Talk. Elízabet Ronaldsdóttir started her career in her native Iceland more than twenty years ago, and we've talked before on Art of the Cut about Mile 22 and Atomic Blonde. She's also edited The Deep, John Wick, and Deadpool 2, among others. Harry Yoon has previously been on the show for his most recent project, Minari, and for Best of Enemies and has also been involved in other projects featured on Art of the Cut, including Last Black Man in San Franciso, First Man, Detroit, and The Revenant. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we meet up with the editors behind Hulu's comedic murder-mystery series, Only Murders in the Building. JoAnne has edited TV series including Queen Sugar, Claws, American Crime, and three seasons of Vida, for which she was nominated for a Hollywood Post Alliance Award. Matthew has edited TV series including Dave, High Fidelity, Veep, and The Good Place, and he received an Emmy nomination for editing Trauma: Life in the E.R. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, Steve chats with Angela Catanzaro, ACE, about her latest action feature, The Protégé. Catanzaro's filmography includes Smokin' Aces 2: Assassins' Ball, Code Black, Parenthood, and The Man in the High Castle, and her work on Friday Night Lights earned her an ACE Eddie nomination. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we sit down with Dean Zimmerman, ACE, who most recently cut the Ryan Reynolds' comedy Free Guy. Dean’s been a guest on Art of the Cut before for his editing of Stranger Things, for which he won an Emmy and was nominated for an ACE Eddie. So we're excited to learn more from this acclaimed editor's cinematic work. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

On today's episode of Art of the Cut, we met up with the editors behind Disney's smash hit, The Mandalorian. Specifically, they each worked on one of the four Emmy-nominated episodes. Dylan Firshein and Erik Jessen edited Chapter 11 – The Heiress, Andrew S. Eisen, ACE, edited Chapter 13 – The Jedi, Jeff Seibenick edited Chapter 15 – The Believer, and Adam Gerstel edited Chapter 16 – The Rescue. This incredibly talented group has worked on such projects as Solo: A Star Wars Story, The Imitation Game, X-Men: Days of Future Past, Parks and Rec, Star Trek: Into Darkness, and many many more. Join us and hear how they took this incredible series to new heights. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Read this interview and many others at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.