Writer / Director - Matthew Gentile and Editor - Matt Allen Friends and fellow American Film Institute vets, Matthew Gentile and Matt Allen, turned their long walks in Los Feliz into a collaborative indie filmmaking venture that would become their first project together, AMERICAN MURDERER.  Prior to this film, Matthew Gentile was biding his time as a script reader and making a name for himself directing short films. Meanwhile, ACE Eric Zumbrunnen Fellowship winner Matt Allen was racking up experience as an assistant, working with Oscar®-nominated editor Matt Chesse on features such as CHRISTOPHER ROBIN (2018). Based on a true story, AMERICAN MURDERER follows Jason Derek Brown (Tom Pelphrey), a charismatic con man bankrolling his extravagant lifestyle through a series of scams. On Brown's trail: Lance Leising (Ryan Phillippe), a dogged FBI special agent determined to put Brown behind bars. When Brown's funds run low and his past catches up with him, he plots his most elaborate scheme yet, pitting himself against Leising in a deadly game of cat and mouse -- and becoming the most unlikely and elusive fugitive on the FBI's most-wanted list. Making AMERICAN MURDERER In our discussion with Matthew and Matt, we talk about: Finding your people in Hollywood Going from script reader to script writer The power of pre-vis for indie filmmaking Getting too big for your "shorts" Budgeting for kindness The Credits Visit Extreme Music and get the best production audio for your next project Check out all the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube Send me your feedback and ideas for future episodes

MAKING THE CUT AT PIXAR authors - Bobbie O'Steen and Bill Kinder MAKING THE CUT AT PIXAR co-authors Bill Kinder and Bobbie O’Steen are experts in the field of post production. Kinder was the founding Director of Editorial and Post Production at Pixar from 1996–2014 and O’Steen is a teacher and film historian, specializing in editing, as well as the author of The Invisible Cut and Cut to the Chase.  Together they have created a multimedia "book" that guides readers on a journey through every stage of production on an animated film; from storyboards to virtual cameras and final animation. With unprecedented access to the Pixar edit suite, this authoritative project highlights the central role film editors play in some of the most critically acclaimed and commercially successful movies of all time.  Featuring exclusive interviews with animation editors and other creative leads, MAKING THE CUT AT PIXAR includes nearly 90 minutes of video segments that include never-before-seen works in progress, deleted scenes and demonstrations; all of which shed light on how these beloved stories are crafted. The challenges and essential contributions of editors in animation have never before been examined in such depth and detail. In addition to exploring method and craft, this book provides important context for the editor in film history, the evolution of technology, and Pixar’s uniquely collaborative studio culture.  A must-read for students of digital filmmaking methods, filmmakers in all aspects of production, and fans of Pixar movies, this uniquely educational, historical, and entertaining book sheds light on how beloved stories are crafted from the perspective of crucial members of the filmmaking team. Writing "Making the Cut at Pixar" In our discussion with Bobbie and Bill, we talk about: The "big bang" of TOY STORY on the world of CGI Animation Editor Lee Unkrich introducing Avid editing into traditional animation How CGI "flipped the script" on the way editors impact the writing process The PIXAR origin story Sharpening your ear to make believable cuts The Credits Visit ExtremeMusic and get the best in production audio for your next project Get your own copy of MAKING THE CUT AT PIXAR Check out the super affordable Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube and see the amazing Timeline Tours

Director / Composer - Michael Giacchino and Editor - Jeffrey Ford ACE WEREWOLF BY NIGHT'S Michael Giacchino and Jeffrey Ford have had many occasions to work together in the past, but never quite like this.  While WEREWOLF BY NIGHT is Michael's first time in the director's chair for Marvel Studios, he's been the composer on five of their features, two of which were also cut by Marvel stalwart, Jeffrey Ford.  However, this special presentation for Disney + marks their first time collaborating as director and editor. WEREWOLF BY NIGHT begins after the death of legendary monster hunter, Ulysses Bloodstone.  Five experienced monster hunters are summoned by Ulysses' widow, Verussa, to Bloodstone Manor where they are instructed to participate in a competitive hunt to determine their new leader.  The object of their hunt is to retrieve the powerful Bloodstone from an unknown foe. MICHAEL GIACCHINO In addition to his work as composer on WEREWOLF BY NIGHT, Michael has also scored the Marvel features; DOCTOR STRANGE (2016), SPIDER-MAN: HOMECOMING (2017), SPIDER-MAN: FAR FROM HOME (2019), SPIDER-MAN: NO WAY HOME (2021) and THOR: LOVE AND THUNDER (2022).  Outside of the MCU, Michael's work can also be heard on; RATATOUILLE (2007) - for which he won an Oscar®, JURASSIC WORLD (2015) and Taika Waititi's upcoming feature, NEXT GOAL WINS (2023). JEFFREY FORD ACE While Jeff Ford's career has been punctuated by the excellent work he has done in smaller projects such as; ONE HOUR PHOTO (2002), BLOODWORTH (2010) and THE COMEY RULE (2020), it is his impressive and unmatched roster of eleven MCU films (plus THE FALCON AND THE WINTER SOLDIER and WEREWOLF BY NIGHT for Disney+) for which he is most well known. Making Marvel's Werewolf by Night In our discussion with Michael and Jeffrey, we talk about: Honoring the horror films of the past The advantages of having the editor on set Brad Bird getting inside of your head The Easter eggs of Fireball Island How to transpose for a flaming tuba The Credits Visit ExtremeMusic and get Michael Giacchino's music for you next project See this episode with Michael and Jeff on YouTube Hear Jeffrey Ford discuss AVENGERS: ENDGAME and SPIDER-MAN: NO WAY HOME Check out all the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube and SEE editors Jeffrey Ford, ACE and Leigh Folsom-Boyd, ACE discuss SPIDER-MAN: NO WAY HOME

Amsterdam - Editor, Jay Cassidy ACE AMSTERDAM editor, Jay Cassidy ACE has cultivated an impressive career spanning almost fifty years and approximately sixty different projects.  Cassidy has worked extensively with directors such as David O. Russell and Sean Penn, as well as documentarian Davis Guggenheim.  Thrice-nominated for an Oscar for his work on Penn's INTO THE WILD (2008); as well as Russell's SILVER LININGS PLAYBOOK (2013) and AMERICAN HUSTLE (2014), Jay is not one to settle for status quo when it comes to making the most of technology in the editing room.  He continues to lean into new developments in hardware, software and color science for his craft. AMSTERDAM is a 2022 period/mystery/comedy/thriller film directed, written, and produced by David O. Russell. It stars an ensemble cast, led by Christian Bale, Margot Robbie, and John David Washington; featuring Chris Rock, Anya Taylor-Joy, Zoe Saldaña, Mike Myers, Rami Malek, and Robert De Niro.  The film follows three friends—a doctor, a nurse and a lawyer—who are caught in the mysterious murder of a U.S. senator in the 1930's.  Filmed in Los Angeles from January to March 2021, AMSTERDAM marks Russell's first film since JOY (2015). In our discussion with AMSTERDAM editor, Jay Cassidy ACE, we talk about: Balancing context setting and character development The benefits of monitoring in the DCI-P3 color space Working with actors in the cutting room Collaborating with Oscar®-caliber additional editors The world's most amazing microphone The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to AMSTERDAM additional editor, Alan Baumgarten ACE discuss his work on THE TRIAL OF THE CHICAGO SEVEN 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

The Woman King - Editor, Terilyn A. Shropshire ACE For over twenty years editor Terilyn A. Shropshire ACE and director Gina Prince-Bythewood have worked hand-in-hand to entertain and inspire audiences with films dating back to Gina's directorial debut, LOVE & BASKETBALL (2000).  Following their hit action film, THE OLD GUARD (2020), Teri and Gina have joined forces once again to create an epic tale about the Agojie, a fierce sisterhood of African warriors who fought for the kingdom of Dahomey in the 1800s; with skills and a ferocity unlike anything the world has ever seen. Inspired by true events, THE WOMAN KING follows the emotionally epic journey of General Nanisca (Oscar®-winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life. In our discussion with THE WOMAN KING editor, Terilyn A. Shropshire ACE, we talk about: Caring about characters to create better action "Getting it right" so studios will give the next generation a chance How to make an action movie "intimately epic" Staying away from temp score created by your composer Trusting your audience The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to Terilyn talk about her work on the film, THE OLD GUARD 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 - Doug Liman Director Doug Liman sat down with us at his NYC office in 2011 to discuss his early beginnings in the film business as well as his thoughts on; film school, editing and "making it" in Hollywood. Doug Liman is known for directing the films; SWINGERS (1996), GO (1999), THE BOURNE IDENTITY (2002), MR. AND MRS. SMITH (2007), JUMPER (2008), FAIR GAME (2010), EDGE OF TOMORROW (2014), CHAOS WALKING (2021). Doug is currently in production on a remake of the Patrick Swayze classic, ROAD HOUSE.  A sequel to EDGE OF TOMORROW is also rumored to be in the works. In our discussion with director Doug Liman we talk about: Life before SWINGERS Whether anyone ever really "makes it" in Hollywood The merits of film school Knowing how to use an NLE vs knowing how to edit The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to editor Doc Crotzer ACE talk about his work on the Doug Liman film, CHAOS WALKING Hear SWINGERS and GO editor Stephen Mirrione ACE talk about cutting THE MIDNIGHT SKY EDGE OF TOMORROW editor, Laura Jennings on editing MALEFICENT: MISTRESS OF EVIL 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

CRAFTY APES - VFX PRODUCER, SARAH McCULLEY and VFX SUPERVISOR, KOLBY KEMBER With offices in; Los Angeles, Baton Rouge, Montreal, Atlanta, New York City and Vancouver, Crafty Apes is a full-service visual effects company. Beginning as a VFX studio for film and TV, Crafty Apes has grown to include a talented roster of creative and production supervisors that offer set supervision, VFX consultation and high-end CG and previsualization services.  Their cinematic work can be seen in such films as; WHERE THE CRAWDADS SING (2022), DR. STRANGE IN THE MULTIVERSE OF MADNESS (2022), THE BATMAN (2022), GHOSTBUSTERS AFTERLIFE (2021), LICORICE PIZZA (2021) and SPIDER-MAN: NO WAY HOME (2021).  The work of Crafty Apes also features heavily in TV/Streamer shows like; STRANGER THINGS, THE ORVILLE, MOON KNIGHT, PEACEMAKER,  STAR TREK: DISCOVERY and COBRA-KAI. SARAH McCULLEY Sarah has worked as a VFX Producer on; WHERE THE CRAWDADS SINGS (2022), OUR KIND OF PEOPLE (2022), RAY DONOVAN (2019-20), COBRA-KAI (2019) and a VFX Coordinator on HOMELAND (2016-17), SANTA CLARITA DIET (2017) and TRUE DETECTIVE (2014). KOLBY KEMBER Kolby's work as VFX Supervisor can be seen in; WHERE THE CRAWDADS SING (2022), HIGHTOWN (2021) and BLACK LIGHTNING (2019-20).  He has also served as Compositor on NOBODY (2021), PENNYWORTH (2019) and THE ORVILLE (2019). In our discussion with the Sarah McCulley and Kolby Kember of Crafty Apes, we talk about: The major phases of VFX Different roles within the VFX process Where communication begins between production and VFX How VFX in television compares to feature film How to cut corners without cutting quality The Credits Visit ExtremeMusic for all your production audio needs Check out the Rough Cut episode on VFX Editing Contact the Rough Cut with your feedback and requests Download your free trial of Avid Media Composer Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - James D. Wilcox, ACE THIRTEEN LIVES editor James D. Wilcox joins the Rough Cut to talk about cutting Ron Howard's latest film.  James first collaborated with Howard on the series, Genius, and received an ACE Eddie award for his work on the episode, "Einstein - Chapter 1".  From there, James would do another episode of Genius ("Aretha"), as well as cutting Howard's adaptation of the J.D. Vance book, HILBILLY ELEGY; which would be Wilcox's first feature editing job.  Unlike most feature editors who started their journey in post as an assistant, James actually started out as an editor, but working in news and sports.  This experience proved invaluable to him later in his career when he started cutting scripted shows and features. THIRTEEN LIVES recounts the incredible true story of the tremendous global effort to rescue a Thai soccer team who become trapped in the Tham Luang cave during an unexpected rainstorm. Faced with insurmountable odds, a team of the world's most skilled and experienced divers -- uniquely able to navigate the maze of flooded, narrow cave tunnels -- join with Thai forces and more than 10,000 volunteers to attempt a harrowing rescue of the twelve boys and their coach. With impossibly high stakes and the entire world watching, the group embarks on their most challenging dive yet, showcasing the limitlessness of the human spirit in the process. Editing THIRTEEN LIVES In our discussion with THIRTEEN LIVES editor, James D. Wilcox we talk about: The evolution of his collaboration with director, Ron Howard Cutting in a language you don't speak Maintaining the scale and geography for the audience Creating tension with an underwater soundscape Winding an unseen clock The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Hear James talk about his work on HILLBILLY ELEGY 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 - Julia Bloch and Taylor Levy BODIES BODIES BODIES editors Julia Bloch and Taylor Levy combined their editorial talents, albeit not always at the same time, to craft a sly and satirical take on the horror genre.  Although the two NYC-based editors had never (really) met before, each had a few "prerequisite" genre films to their credits and that experience served them well in the cozy confines of their shared cutting room. The film's distributor, A24, describes the plot of BODIES BODIES BODIES as such; When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong. JULIA BLOCH Julia Bloch has edited such films as; Chaos Walking (2021), His House (2020), Hold the Dark (2018), The Wall (2017), Green Room (2015) and Blue Ruin (2013). TAYLOR LEVY Editor Taylor Levy's work can be seen in; Mona Lisa and the Blood Moon (2021), Prisoners of the Ghostland (2021), Drunk Bus (2020) and Yellow Rose (2019).  He also assisted on the critically-acclaimed film, Manchester-by-the-Sea (2016). Editing BODIES BODIES BODIES In our discussion with the editors of BODIES BODIES BODIES, we talk about: Finding the right tone between comedy, horror and satire Using sound to help the audience with geography Handing off a film from one editor to another The tight-knit filmmaking community of New York City Knowing when a joke or a scare is working The Credits Visit ExtremeMusic for all your production audio needs Download your free trial of Avid Media Composer Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Robert Komatsu ACE, Emily E. Greene ACE, Ivan Victor ACE, Jennifer Barbot ACE PAPER GIRLS editors Rob Komatsu and Emily Greene make their triumphant return to THE ROUGH CUT, having previously visited to discuss their work on the FX/HULU series, MRS. AMERICA (2020).  Although Ivan Victor and Jennifer Barbot are joining the podcast for the first time, both editors bring with them a wealth of tv editing experience in documentary/reality, comedy, sci-fi and drama. PAPER GIRLS follows four young girls who, while out delivering papers during the dark morning hours after Halloween in 1988, become unwittingly caught in a conflict between warring factions of time-travelers, sending them on an adventure through time that will save the world. As they travel between time periods, they encounter future versions of themselves and must choose to embrace or reject their fate.  It is based on the 2015–2019 comic book series of the same name written by Brian K. Vaughan and illustrated by Cliff Chiang. ROBERT KOMATSU ACE Editor Rob Komatsu is know for his work on; AMERICAN HORROR STORY (2011), HALT AND CATCH FIRE (2014-17), THE X-FILES (2016-18) and MRS. AMERICA (2020). EMILY E. GREENE ACE The work of editor Emily Greene can be found in; THE BLACKLIST (2015-17), AMERICAN CRIME STORY (2018), MRS. AMERICA (2020) and FOUNDATION (2021). IVAN VICTOR ACE Editor Ivan Victor has edited such tv series as; PARKS AND RECREATION (2009-12), THE GOLDBERGS (2013-14), LODGE 49 (2018-19) and KEVIN CAN F**K HIMSELF (2021). JENNIFER BARBOT ACE Editor Jennifer Barbot's work can be seen in; UGLY BETTY (2007-10), JESSICA JONES (2018), THE MAN IN THE HIGH CASTLE (2019) and RAISED BY WOLVES (2020). Editing PAPER GIRLS In our discussion with the editors of PAPER GIRLS, we talk about: Finding time to explore the characters between the sci-fi set pieces Building a killer robot battle To keyframe or to not keyframe Running ADR over Zoom Using less score for bigger impact The Credits Visit ExtremeMusic for all your production audio needs Hear Rob Komatsu and Emily Greene talk about their work on MRS. AMERICA Download your free trial of Avid Media Composer Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube