The Rough Cut

Editor - Andy Jurgensen One Battle After Another editor Andy Jurgensen came into his new film already "battle" tested with director Paul Thomas Anderson's unique film-based workflow.  Shoot film.  Print film dailies.  Screen film dailies.  Create digital workprint.  Cut in Avid.  Conform negative.  But Paul loves a challenge, so he decided to not only make "One Battle" the first IMAX film presented entirely in the 1.43:1 ratio, but he also resurrected the VistaVision format for the first time in sixty years.  Luckily, Andy loves a challenge too. One Battle After Another stars Leonardo DiCaprio as Bob, a washed-up revolutionary who lives in a state of stoned paranoia, surviving off-grid with his spirited and self-reliant daughter, Willa. When his evil nemesis, Colonel Lockjaw (Sean Penn), resurfaces and Willa goes missing, the former radical scrambles to find her as both father and daughter battle the consequences of their pasts. ANDY JURGENSEN Andy Jurgensen has worked with director Paul Thomas Anderson since their time together on Inherent Vice (2014).  At that time, Andy was first assistant editor to Leslie Jones ACE.  From there Andy served as associate editor to Dylan Tichenor ACE on Anderson's Phantom Thread (2017).  Andy finally got his big break as a lead editor for Anderson's Licorice Pizza (2021). In addition to his work with Paul Thomas Anderson, Andy has also served as an assistant editor on a number of films with director Jay Roach, including The Campaign (2012), Trumbo (2015) and Bombshell (2019). The Credits Visit Extreme Music for the new Extreme Music panel for Avid Media Composer Hear Andy's interview on Licorice Pizza See which Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Vikash Patel, Cedric Nairn-Smith and Kyle Reiter ACE Black Rabbit editors Viks, Ced and Kyle worked independently during post but still managed to collectively craft a complex narrative that stayed consistent in tone and style throughout the run of the series.  And while new guy Reiter described feeling like a "bench player" on the team, Viks and Ced benefited from a long working relationship that began with Viks mentoring Ced as his former assistant.  Regardless of any of their past experiences, star and producer Jason Bateman tasked the post team with creating a vibe that had tendencies drawn from Bateman's Netflix hit, Ozark but also from dark comedies like the Safdie brothers' Uncut Gems. Black Rabbit tells the tale of two brothers, Vince and Jake Friedken, former bandmates in a successful musical act whose lives went down different paths in the years that followed.  Rising-star restaurateur Jake is forced into New York's criminal underworld when his chaotic brother returns to town with loan sharks on his trail, opens the door to escalating dangers that threaten to bring down everything he's built. VIKASH PATEL In addition to his work on Black Rabbit, Viks won an Emmy® in 2008 for his work on TOP CHEF and was nominated for an Emmy® in 2020 for his work on OZARK.  Viks has also edited series that include THE SYMPATHIZER (2024), THE MORNING SHOW (2019), BATES MOTEL (2015-16) and LONGMIRE (2012-14). CEDRIC NAIRN-SMITH Prior to Black Rabbit, Cedric's editorial work could be seen on DAREDEVIL: BORN AGAIN (2025), MOON KNIGHT (2022), LISEY’S STORY (2021), THE BOYS (2019-2020) and BATES MOTEL (2015-2017). KYLE REITER, ACE 4x Emmy® nominee Reiter has edited such shows as MR. AND MRS. SMITH (2024), BARRY (2018) and ATLANTA (2016), a series for which Kyle would win an ACE Eddie award in 2019. The Credits Visit Extreme Music for all your production audio needs Hear Viks discuss cutting OZARK and THE SYMPATHIZER Listen to Ced talk about THE BOYS and MOON KNIGHT and DAREDEVIL: BORN AGAIN Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Julie Cohen ACE and David Rogers ACE The Paper editors Julie Cohen and David Rogers first began collaborating on another Greg Daniels series, Space Force.  Although that series was not in the same "mock doc" format as The Paper, David's first show with Daniels was. And that series was The Office, where he served as both editor and director.  Both Julie and David felt at home with The Paper's faux documentary format however, with David having worked on The Office and Julie receiving multiple Emmy nominations for her work on the unscripted series, Project Runway. The Paper follows up on the story from The Office, as the documentary crew that immortalized Dunder Mifflin's Scranton branch discovers a disappearing Midwestern newspaper and the publisher trying to revive it with volunteer reporters. This mockumentary follows the daily lives and struggles of dreamers in love with journalism, and their less-than-competent co-workers, trying to deliver accurate news without the resources or training to do a great job. JULIE COHEN ACE Julie Cohen "loves to edit!" and considers herself lucky to have done it a lot over the last twenty years. She's edited across genres: documentary, reality, comedy, drama, sometimes all at once. Highlights include Project Runway, On Becoming a God in Central Florida, and Space Force. Most recently, she edited a bunch of episodes of Hulu’s Tell Me Lies, starting with the pilot and including both season finales. DAVID ROGERS ACE David Rogers wanted to be a director since seeing Superman The Movie at the age of 8, and shot videos and films throughout high school and college. Following that he would move to L.A. and work as an Assistant Editor and then Editor on such shows as Seinfeld, NewsRadio, Andy Richter Controls The Universe, Entourage, The Comeback, and The Office. David started directing on The Office and directed shows like Parks and Recreation and The Mindy Project, where he also served as Co-Executive Producer. David is also the owner of a huge Superman collection and a Knight Rider replica which he's currently in the process of modifying. The Credits Visit ExtremeMusic for all your production audio needs Enter AGBO'S No Sleep 'til Film Fest Competition Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Joe Murphy Weapons editor Joe Murphy probably had no idea when he interviewed with Zach Cregger over a Zoom call that, in a relatively short amount of time, they would collaborate on not one, but two hit horror films.  Regardless, Joe says that call wasn't just about getting to know each other, but also about ensuring a supportive and frank collaboration; key ingredients for him in being able to articulate the director’s vision effectively.  Weapons unfolds in chapters around six main characters, which presented a unique challenge in introducing new characters multiple times throughout the film.  According to Joe, the key was finding the balance between familiarizing the audience with these characters while maintaining narrative momentum. Zach Cregger's Weapons follows the seemingly inexplicable case of seventeen children from the same classroom who mysteriously run away on the same night at the same time, having been apparently abducted by an unseen force. Joe Murphy Prior to his work on Weapons, Joe cut such films as On Swift Horses (2024), Paper Soldiers (2020), and Zach Cregger's first horror feature, Barbarian (2022). The Credits Visit ExtremeMusic for all your production audio needs See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Director, Richard Shepard and Editor, Adam Lichtenstein FILM GEEK isn't just another notch on the IMDB belts of director, Richard Shepard and his friend and editor, Adam Lichtenstein.  This is the story of Richard's cinematic "life" and the mysterious father who was his guide into that world.  Deftly incoroporating clips from over 200 movies of the 70's and early 80's, FILM GEEK chronicles Richard's introduction and absorption into films both classic and forgotten, between the ages of 6 and 18.  From there, Richard would make the transition from amateur 8MM auteur, to being an "all-in" film student at NYU, where he would begin his over thirty-year friendship and collaboration with Adam.  And it is Adam whom Richard credits as drawing out the more personal aspects of his journey in FILM GEEK, most notably the story of his complicated but caring father. RICHARD SHEPARD Richard Shepard is an Emmy and DGA-winning director/writer whose feature films include the Golden Globe nominated The Matador starring Pierce Brosnan and Greg Kinnear, Dom Hemingway starring Jude Law and Richard E. Grant, and The Perfection starring Allison Williams and Logan Browning which was named one of the best horror films of the year by Rolling Stone, Vogue, Harper’s Bazaar and New York Magazine. In his career, Shepard has directed ten television pilots to pick-up including Criminal Minds, now entering its 17th season; Ugly Betty for which Shepard won the Director’s Guild award and Emmy award; the Golden Globe and Emmy nominated Zoey’s Extraordinary Playlist; and Acapulco for Apple, now in its third season. Through its six seasons, Shepard directed twelve episodes of the Golden Globe winning HBO series Girls, including the controversial “American Bitch” episode for which Matthew Rhys received an Emmy nomination, as well as several Emmy nominated episodes of The Handmaid’s Tale. He recently directed the final two episodes of the multiple Emmy nominated Welcome to Chippendales a Hulu limited series. Shepard’s short film Tokyo Project starring Elisabeth Moss and Ebon Moss-Bachrach premiered at the Tribeca Film Festival and was bought by HBO, and his HBO documentary I Knew It Was You: Rediscovering John Cazale was nominated for an Emmy award. ADAM LICHTENSTEIN Born with a natural love for time code, Adam showed an early preference for non-drop frame, then rose through the editorial ranks pretending to enjoy sports, overusing terms like "shots on goal", "swish", "in your face" and "that's what I'm talking about" without the slightest idea what he was talking about. The Credits Visit ExtremeMusic for all your production audio needs Listen to Adam's podcast about the post workflow for Jury Duty Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Chris Patterson and Dirk Westervelt ACE EENIE MEANIE editors Chris Patterson and Dirk Westervelt reunite after a six-year break from their first co-editing effort, ZOMBIELAND: DOUBLE TAP.  From its indie vibe to its seventies-inspired aesthetic, EENIE MEANIE doesn’t shy away from its influences. Chris shares how both he and writer/director Shawn Simmons gravitated towards filmmakers like Steven Soderbergh, drawing inspiration from classics like OUT OF SIGHT and OCEAN'S ELEVEN. EENIE MEANIE tells the story of Edie, a reformed teenage getaway driver who gets dragged back into her unsavoury past when a former employer offers her an opportunity to save the life of her chronically unreliable ex-boyfriend.   The film was written and directed by Shawn Simmons, making his directorial debut. CHRIS PATTERSON On his way to co-editing ZOMBIELAND: DOUBLE TAP with Dirk, Chris began his career assisting on films such as THE ROYAL TENENBAUMS (2001), ANALYZE THAT (2002), THE TOWN (2010), ZERO DARK THIRTY (2012) and READY PLAYER ONE (2018). DIRK WESTERVELT ACE When he’s not cutting for James Mangold on projects such as; LOGAN (2017), FORD v FERRARI (2019), and INDIANA JONES and THE DIAL OF DESTINY (2023), Dirk’s editing chops can be seen in  DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019). The Credits Visit ExtremeMusic for all your production audio needs Hear Chris and Dirk talk about cutting Zombieland: Double Tap Listen to Dirk and editors Andrew Buckland and Mike McCusker discuss Indiana Jones and the Dial of Destiny Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Brian Scott Olds The Naked Gun editor Brian Scott Olds knows that comedy thrives on the elements of surprise and timing.  He applied this philosophy to every aspect of the film—from physical gags to witty word play and silly sound design.  But making a film that respects the legacy of its predecessor while updating its essence for today is no laughing matter. Brian and director Akiva Schaffer had a clear mission: maintain the comedic tone and tenor from the original while spoofing modern-day blockbusters like Mission Impossible.  And stop calling me Shirley. Avika Schaffer's take on The Naked Gun features Lieutenant Frank Drebin Jr (Liam Neeson) working as a police officer like his legendary father. In order to save Police Squad from shutting down he must solve the mystery behind.....oh, who cares?!  This is The Naked Gun! The plot doesn't matter! Brian Scott Olds Editor Brian Scott Olds is known for his work on Central Intelligence (2016), The Happytime Murders (2018), The King of Staten Island (2020) and Chip 'n Dale: Rescue Rangers (2022). The Credits Visit ExtremeMusic for all your production audio needs Streamline your postproduction pipeline with Shade See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Nona Khodai ACE and Tim Roche The Fantastic Four: First Steps sees editors Nona Khodai and Tim Roche reunite for the 37th film in the Marvel Cinematic Universe (MCU) and the second reboot of the Fantastic Four film series.  The film also marks the first time the two have worked together since Marvel's live action series debut, WandaVision.  Although each had worked with him separately before, WandaVision was the first time both Nona and Tim worked with director Matt Shakman on a Marvel project. The Fantastic Four: First Steps takes place in 1964, as the world celebrates the fourth anniversary of astronauts Reed Richards, Sue Storm, Johnny Storm, and Ben Grimm becoming the superhero team known as the Fantastic Four (Mister Fantastic, Invisible Woman, Human Torch and the Thing).  But the celebration doesn't last for long as the four face their most daunting challenge yet as they defend Earth from Galactus and Silver Surfer. NONA KHODAI ACE A Southern California native and graduate of USC's Cinematic Arts school, Nona started her career as an assistant on such films as the Bad Robot production, Super 8.  Her first foray as an editor on a "superhero" project came courtesy of showrunner Eric Kripke who brought her aboard the The Boys, where she would work with director Matt Shakman for the first time.  Nona was twice nominted for an Emmy award for her work on Marvel's WandaVision, and nominated for another Emmy for Marvel's Ms. Marvel. TIM ROCHE Known for his work on comedy series like Silicon Valley and It's Always Sunny in Philadelphia, as well as for his contributions to the Marvel Cinematic Universe, including WandaVision, Thor: Love and Thunder and She-Hulk: Attorney at Law, Tim has received five Emmy nominations for his work, including one this year for Welcom To Wrexham, a show that has already brought him an ACE Eddie Award. The Credits Visit ExtremeMusic for all your production audio needs Streamline your postproduction pipeline with Shade Listen to Nona and Tim talk about cutting WandaVision Hear Nona share her experiences editing The Boys Check out Tim's podcast about the post workflow for Hawkeye Check out what's new with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Yan Miles ACE, BFE Andor editor Yan Miles partly attributes the decision not to extensively use the Stagecraft "volume" technology as the reason why his series has a distinctly different look and feel to other shows under the Star Wars banner. Instead, Andor leans into real-world environments, capturing the grit and authenticity that Yan believes enhances the narrative. Another significant factor in that differentiation is Tony Gilroy's writing, where the narrative complexity lies. Despite knowing the ultimate fate of characters like Cassian Andor, the series thrives on the uncertainty surrounding minor characters and their arcs. It's in these uncharted territories that the tension in Andor finds its heartbeat. Season 2 of Andor continues the chronicling of Cassian Andor's journey as he becomes a key figure in the burgeoning Rebel Alliance against the Galactic Empire. The season covers the four years leading up to the events of Rogue One, with each arc spanning a year.  Yan Miles ACE, BFE Yan Miles ACE, BFE is an acclaimed film and television editor whose work spans some of the most prestigious and visually dynamic series of the last decade. A member of both American Cinema Editors and British Film Editors, Yan has brought his keen sense of story and rhythm to internationally celebrated productions such as The Crown, Sherlock, and Game of Thrones. Known for his ability to blend emotional nuance with bold editorial choices, his work has helped define the tone and texture of modern prestige television.   The Credits Visit ExtremeMusic for all your production audio needs Streamline your postproduction pipeline with Shade See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - William Hoy, ACE and Craig Alpert, ACE Superman editors William Hoy ACE and Craig Alpert ACE didn't need to be told there was a lot riding on this movie.  Not only does it represent James Gunn's view on who Superman needs to be for modern movie-going audiences, it also kicks off Gunn's vision of the new DCU.  From the first minute of the film, viewers encounter a Superman who bleeds and is grappling with not just his limitations, but also his sense of purpose. It’s these complex layers that Bill and Craig balanced through their masterful editing. In James Gunn's new take on the most iconic character in the superhero realm, Superman must prove to the world that he is their protector and not a thread, after billionaire Lex Luthor enacts a plan to turn public opinion against him. William Hoy, ACE Bill is known for his work on No Way Out (1987), Dance with Wolves (1990), The Bone Collector (1999), Dawn of the Planet of The Apes (2014), War for the Planet of the Apes (2017) and The Batman (2022). Craig Alpert, ACE Craig is known for cutting Deadpool 2 (2018), Borat: Subsequent Moviefilm (2020), The Lost City (2022) and Blue Beetle (2023).  He was twice nominated for an ACE Eddie award in the category of Best Edited Feature Film: Comedy (Deadpool 2, Borat: Subsequent Moviefilm). The Credits Visit ExtremeMusic for all your production audio needs Streamline your postproduction pipeline with Shade Hear Craig talk about his work on BORAT: SUBSEQUENT MOVIEFILM Listen to Bill discuss cutting THE BATMAN and THE CALL OF THE WILD See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube