Editors - Andrew Weisblum ACE and Myron Kerstein ACE tick, tick...Boom! editors Andy Weisblum and Myron Kerstein merged their considerable talents to bring Lin-Manuel Miranda's directorial debut to life....but not at the same time.  While Weisblum began the project, COVID-related delays and a prior commitment to another film meant that Andy would not be able to finish the film.  Fortunately for Miranda, he had to look no further than the cutting room of his film IN THE HEIGHTS.   With that, Myron Kerstein was brought in to lend his storytelling skills to the project and bring "TTB" home. ANDREW WEISBLUM ACE Aside from his rich body of work with Wes Anderson, Andy is also a frequent collaborator with director Darren Aronofsky.  In addition to his Oscar®-nominated work on Aronofsky’s BLACK SWAN (2010), Andy also collaborated with him on THE FOUNTAIN (2006), BROKEN ENGLISH (2007), THE WRESTLER (2008), NOAH (2014) and MOTHER! (2017).  The two are currently at work on Aronofsky’s next film, THE WHALE. MYRON KERSTEIN ACE Even before re-teaming with Lin-Manuel Miranda for tick, tick...Boom!, Myron Kerstein had plenty of experience to draw from going into their first project together - Miranda’s Broadway hit, IN THE HEIGHTS (2021). Kerstein previously worked with IN THE HEIGHTS director John Chu on the film, CRAZY RICH ASIANS (2018).  Myron also had a diverse pool of film and tv projects, including; GARDEN STATE (2004), NICK AND NORAH'S INFINITE PLAYLIST (2008), LITTLE FOCKERS (2010), THE DUKES OF HAZARD (2005), FAME (2009), GIRLS (2015-17) and HOME BEFORE DARK (2020). Editing tick, tick...Boom! In our discussion with tick, tick...Boom! editors Andy Weisblum and Myron Kerstein, we talk about: How to manage the handoff of a project from one editor to another Converting beats to frames when cutting a musical Cutting at director, Lin-Manuel Miranda's house What to do with the post crew when a new editor comes in to replace the first one Editing with The Wu-Tang Clan looking over your shoulder The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See what's new in the latest version of Media Composer Listen to editor Andrew Weisblum discuss The French Dispatch Hear Myron Kerstein talk about cutting In the Heights Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Andy Jurgensen LICORICE PIZZA editor, 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).  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). Set in the San Fernando Valley in the early 1970's, LICORICE PIZZA is a semi-biographical film that tells the tale of Gary Valentine (Cooper Hoffman), a 15 year-old actor-turned-entrepreneur who becomes infatuated with 25 year-old Alana Kane (Alana Haim).  Despite rejecting his romantic overtures due to their age difference, Alana can't deny Gary's charisma and charm.  Realizing her life is more interesting with Gary in it, Alana becomes partners with Gary in his burgeoning waterbed business. Editing LICORICE PIZZA In our discussion with LICORICE PIZZA editor, Andy Jurgensen we talk about: Rising up the ranks from assistant to lead editor Working in a hybrid film and digital workflow The unique processes of director Paul Thomas Anderson How to cut a film without a strong plot to guide you Breaking the rules of needle drops to establish an era The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs 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 - Terel Gibson ACE, Rosanne Tan ACE and Tim Roche The editors of Marvel's HAWKEYE each brought their own storytelling super powers to the mix for the most recent Disney+ hit.  MCU "newbie" Terel Gibson brought his formidable feature editing skills, while MCU veterans Rosanne Tan and Tim Roche applied their respective tv experience in action/drama and comedy.  Collectively the result was a show that delighted Marvel fans and evoked the holiday spirit of a diverse set of films from DIE HARD to HOME ALONE. Taking place one year after the events of AVENGERS: ENDGAME, Clint Barton (Hawkeye/Ronin) must partner with Kate Bishop to confront enemies from his past as Ronin in order to get back to his family in time for Christmas. TEREL GIBSON ACE Prior to joining the MCU for HAWKEYE, Terel Gibson ACE was best known for his feature film work on movies such as SORRY TO BOTHER YOU (2018), READY OR NOT (2019) and THE FIGHTER (2010). ROSANNE TAN ACE Rosanne Tan ACE makes her record-tying 3rd appearance on The Rough Cut!  Prior to HAWKEYE, Rosanne also cut Marvel's THE FALCON AND THE WINTER SOLDIER and had plenty of other experience editing tv shows (MR. ROBOT, HOMECOMING) that featured action, intrigue and high drama. TIM ROCHE In addition to Tim's previous experience cutting another hit Marvel series (WANDAVISION), Mr. Roche honed his editorial skills in the field of comedy tv, having cut such shows as CURB YOUR ENTHUSIASM and IT'S ALWAYS SUNNY IN PHILADELPHIA. Editing Marvel's Hawkeye In our discussion with the editors of Marvel's Hawkeye, we talk about: Mining the Marvel archives The narrative role of the "walk and talk" Building an epic 360 degree car chase How to make a mega montage from "scenelets" Meeting your heroes The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs See which Avid Media Composer is right for you Hear Rosanne Tan talk about her work on THE FALCON AND THE WINTER SOLDIER and HOMECOMING Listen to editor Tim Roche discuss his work on WANDAVISION Check out other Hawkeye related Rough Cut podcasts such as AVENGERS: ENDGAME and BLACK WIDOW Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Author / Editor / Documentarian - Roger Nygard ACE Cut to the Monkey author, Roger Nygard has logged many hours in the editing rooms of some of the biggest names in comedy.  It was those sessions with the likes of Larry David, Sacha Baron Cohen and Judd Apatow that inspired him to organize their thoughts, and his own, into a book that can help even more experienced editors confidently take on comedy projects. ROGER NYGARD ACE Roger Nygard is probably best known for his highly-successful and acclaimed documentary Trekkies, about the most obsessive fans in the Universe. Nygard's previous documentary, The Nature of Existence, addressed the impossible subject of the world's philosophies, religions, and belief systems. Nygard has made several other award-winning films, including the car-salesman cult-film, Suckers, and a profile of UFO fanatics, Six Days In Roswell, and now the documentary The Truth About Marriage. His work as an editor includes "Grey's Anatomy," "The League," and Emmy-nominated episodes of "VEEP" and "Curb Your Enthusiasm."  Nygard has also directed television series such as "The Office," and "The Bernie Mac Show". Writing Cut to the Monkey In our discussion with Cut to the Monkey author, Roger Nygard ACE, we talk about: Working backwards to find the best takes faster Studying the classics Staying in the wides and staying on the joke The importance of being a filmmaker first, editor second Navigating the Periodic Table of Nonsense The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Get your copy of Cut to the Monkey today Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Leigh Folsom Boyd ACE and Jeffrey Ford ACE Editors Leigh Folsom Boyd and Jeffrey Ford are not exactly newbies when it comes to the Marvel Cinematic Universe.  And while they have many prior MCU colleagues in common, SPIDER-MAN: NO WAY HOME represents the first time they've ever worked together on a project.  Jeff was the editor who introduced Tom Holland's Peter Parker to the MCU when he cut CAPTAIN AMERICA - CIVIL WAR.  Leigh has the distinction of also cutting the previous film in director Jon Watts' "Spidey" trilogy, SPIDER-MAN: FAR FROM HOME alongside editor Dan Lebental ACE. NO WAY HOME picks up things up in the moment after Mysterio exposes Parker's identity as Spider-Man to the world in FAR FROM HOME.  Peter then asks Dr. Strange to make it a secret again with magic, but this breaks open the "multiverse" and allows five supervillains from alternate realities to enter Parker's universe. LEIGH FOLSOM BOYD ACE Even before joining the Marvel Cinematic Universe to co-edit ANT MAN, SPIDER-MAN: FAR FROM HOME and BLACK WIDOW, editor Leigh Folsom Boyd had plenty of experience cutting blockbuster action movies.  Her rich resume includes films like FAST & FURIOUS, FAST FIVE, FAST & FURIOUS 6, FURIOUS 7, PIRATES OF THE CARIBBEAN: DEAD MEN TELL NO TALES and TOTAL RECALL (2012). 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 ten MCU films (plus THE FALCON AND THE WINTER SOLDIER for Disney+) for which he is most well known. Editing Spider-Man: No Way Home In our discussion with the SPIDER-MAN: NOW WAY HOME editing team of Leigh Folsom Boyd and Jeffrey Ford, we talk about: Taking care to build a film that can stand on its own within both a trilogy and a franchise Integrating the Easter eggs Collaborating under COVID restrictions The experience of editing on set Jeff Ford finally coming clean about his gaffe in AVENGERS: ENDGAME The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on subscriptions to Media Composer and Media Composer | Ultimate before 2021 ends Hear Leigh Folsom Boyd talk about editing Black Widow Jeffrey Ford and Robin Buday discuss Avengers: Endgame Editor Dan Lebental on cutting Spider-Man: Far From Home See Chancler's Spider-Man Music Video over on Twitter Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube and see the video version of this interview with Jeff and Leigh

Editor - Cam McLauchlin NIGHTMARE ALLEY editor, Cam McLauchlin has been working with director Guillermo Del Toro dating back to their time together on PACIFIC RIM (2013).  But up to this point Cam had exclusively served in assistant editing and associate editing roles for Del Toro.  NIGHTMARE ALLEY marks McLauchlin's first time as lead editor for the celebrated director. Set in the 1940's. NIGHTMARE ALLEY tells the tale of Stanton Carlisle (Bradley Cooper), a down-on-his-luck drifter who endears himself to a clairvoyant (Toni Collette) and her mentalist husband (David Strathairn) at a traveling carnival. Using newly acquired knowledge, Carlisle crafts a golden ticket to success by swindling the elite and wealthy. Hoping for a big score, he soon hatches a scheme to con a dangerous tycoon with help from a mysterious psychiatrist who might be his most formidable opponent yet. CAM McLAUCHLIN As a film & television editor based out of Toronto and Los Angeles, Cam's career began in Toronto working as an assistant editor for Guillermo Del Toro on PACIFIC RIM, THE STRAIN, CRIMSON PEAK and eventually as an associate editor on SHAPE OF WATER.  Cam also edited the horror cult classic, THE VOID with alumni from Canadian film production and directing company, Astron-6.  Other selected work includes; Max Minghellas' feature debut musical, TEEN SPIRIT and Dogme 95 member, Lone Schefrig's KINDNESS OF STRANGERS.  Cam is currently working with Ana Lily Amirpour for Guillermo's Netflix anthology series, CABINET OF CURIOUSITIES. Editing NIGHTMARE ALLEY In our discussion with NIGHTMARE ALLEY editor, Cam McLauchlin we talk about: Rising up the ranks from assistant to associate to lead editor Making bulldogs bark for Guillermo Del Toro Managing notes from the director, producers, stars and the studio The challenge of cutting fluid camera work Assisting neurotic editors The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Ghostbusters: Afterlife - Dana E. Glauberman ACE, Nathan Orloff, Will Files, Perry Robertson Although editor Dana E. Glauberman ACE and sound editor / re-recording mixer Perry Robertson already had plenty of experience working with director Jason Reitman, editor Nathan Orloff and veteran sound editor / re-recording mixer Will Files were not quite as familiar with the "Reitman-verse".  But together these four very talented people helped create a new film that not only honored the beloved comedy classic, but also paved the way so that a whole new generation could fall in love with symmetrical book stacking. DANA E. GLAUBERMAN ACE Dana E. Glauberman ACE is known for her work on THE MANDALORIAN (2019), CREED II (2018),  UP IN THE AIR (2009) and JUNO (2007). NATHAN ORLOFF Nathan Orloff is known for his work on JOHN WICK 4 (2022), PLAN B (2021) and TULLY (2018). WILL FILES Will Files is known for his work on THE INVISIBLE MAN (2020), VENOM (2018), WAR FOR THE PLANET OF THE APES (2017), STAR WARS:  EPISODE VII - THE FORCE AWAKENS (2017) and CLOVERFIELD (2008). PERRY ROBERTSON Perry Robertson is known for his work on THE FRONT RUNNER (2018), WONDER (2017) and TRUMBO (2015). Editing Ghostbusters: Afterlife In our discussion with the GHOSTBUSTERS: AFTERLIFE post production team of Dana E. Glauberman ACE, Nathan Orloff, Will Files and Perry Robertson we talk about: Using legacy sounds from the original film Bringing back a lost scene from Ghostbusters (1984) How to create voices for ghosts and marshmallow men Dividing up the workload in picture and sounds Advice for up-and-comers looking for a career in editing and mixing The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save big on Avid Media Composer and Pro Tools before 2021 is over Listen to parts one and two from the Season One interview with The Mandalorian editors Hear Will Files and his esteemed colleagues discuss The Psychology of Sound Design Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Visit The Rough Cut on YouTube  

Editor - Peter Sciberras THE POWER OF THE DOG editor, Peter Sciberras had never met director Jane Campion prior to their working together on this film, but their initial discussion about maintaining the tension throughout the film and the kind of tenacious editor that would require, left no doubt that Pete was the one for this project. THE POWER OF THE DOG is a western drama. both written and directed by Jane Campion, based on the 1967 novel of the same name by Thomas Savage. The film stars Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, and Kodi Smit-McPhee. PETER SCIBERRAS Prior to his work on THE POWER OF THE DOG, Pete had cut his storytelling teeth on a number of short films and then went on to make his mark in Australian cinema with films such as; HAIL (2011), THE ROVER (2014), WAR MACHINE (2017) and THE KING (2019). Editing THE POWER OF THE DOG In our discussion with THE POWER OF THE DOG editor, Peter Sciberras we talk about: The skills an editor can develop doing short films Editing in isolation during the pandemic Shifting perspectives between characters The role of the DI assistant? Telling a story between the lines of dialogue The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Save 20% on Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Hans Zimmer and Joe Walker ACE Long time friends and collaborators, Hans Zimmer and Joe Walker ACE have had the pleasure of working together on five feature films.  Their first was Steve McQueen's 12 Years A Slave, followed up by Dune director Denis Villeneuve's Blade Runner 2049.  After that came Widows (again with McQueen), Dune and their upcoming film, The Unforgivable.  Feature films aside, their relationship dates back even much further than that.  Both creative talents were part of a BBC TV series called First Born in 1988.  And while Hans filled the roll he's become most known for by scoring three episodes of the series, twice Oscar®-nominated film editor Joe Walker actually contributed as a sound editor and not a picture editor for First Born.  In fact, musically trained Walker began his career as a sound editor before switching to cutting picture. HANS ZIMMER The work of legendary composer Hans Zimmer is notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980's, Zimmer has composed music for over 150 films. His works include The Lion King (for which he won the Academy Award for Best Original Score in 1995), Crimson Tide, Gladiator, the Pirates of the Caribbean series, The Dark Knight Trilogy, Inception, Interstellar, Dunkirk, Blade Runner 2049 and Dune.  In addition to his Academy award, he has received four Grammy Awards, three Classical BRIT Awards and two Golden Globes. He was also named to the list of Top 100 Living Geniuses, published by The Daily Telegraph. JOE WALKER ACE Formally trained in music and with a career that began as a sound editor, Joe's decision to pursue a life as a picture editor clearly paid off as he is one of the most celebrated feature film editors working today; having been nominated for an Oscar® for his work on the films 12 Years a Slave and The Arrival.  Those films also notched Joe two of this three BAFTA nominations, with the third being for Blade Runner 2049. The Details In our discussion with the dynamic "DUNE" duo of Hans Zimmer and Joe Walker ACE we talk about: How Hans's early film scores messed with the monitors Creating "the voice" The horizontal and vertical editing Joe Walker does within the frame Building a better bagpipe The brief and inauspicious careers of Hans Zimmer, film editor and Joe Walker, sound editor The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Watch this Rough Cut episode on YouTube Listen to the interview with Hans Zimmer that inspired this new one with Joe Walker ACE. Subscribe to The Rough Cut podcast and never miss an episode

Editor - Úna Ní Dhonghaíle ACE, BFE BELFAST editor, Úna Ní Dhonghaíle joins director Kenneth Branagh once again for their third feature together; having previously collaborated on ALL IS TRUE (2018) and the upcoming DEATH ON THE NILE (2022).  Branagh describes BELFAST as his "most personal film" about a young boy's childhood amidst the tumult in Belfast, Northern Ireland in the late 1960's. ÚNA NÍ DHONGAÍLE BELFAST editor, Úna Ní Dhonghaíle is also well known for her work on THE CROWN, MISBEHAVIOUR, THREE GIRLS and STAN AND OLLIE. She has worked on the leading lights of British drama in what some are calling "The Golden Age of Television". Having completed a degree in Film and Media Studies in her native Dublin, Úna specialized in film editing at the National Film and Television School (NFTS) from 1995-1998. Úna earned her first of four BAFTA nominations in 2009 for the Abi Morgan's TV feature WHITE GIRL.  Over a five year period, she co-directed and edited a documentary INVISIBLE MAN, for which she won the 2016 IFTA for Best Editing in Television. Úna has also received much recognition for her editing of the highly acclaimed BBC drama THREE GIRLS, for which she won the BAFTA award for Best Fiction Editing, the Technicolor Craft Award from Women In Film UK, the IFTA for Best Editing, the RTS Award for Best Editing of Fiction, the RTS West of England Award for Editing and the Televisual British Bulldog Award for Editing. Editing BELFAST In our discussion with BELFAST editor, Úna Ní Dhonghaíle, we talk about: Finding the film's narrator in Van Morrison's music Aligning the audience with a child character Establishing a scene through sound design Collaborating with director Kenneth Branagh Leveraging the inherent tension from a historical event The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube