The Rough Cut

Editors - Joseph Krings ACE and Jasmin Way THE PENTAVERATE editors, Joseph Krings ACE and Jasmin Way, first met when Jasmin assisted Joe on the indie feature, THE REBEL IN THE RYE (2017); a biopic about reclusive author J.D. Salinger. Joe was so impressed with the way that Jasmin cut scenes for that film that he knew she was the right choice to join him as co-editor on Myers' new comedy series. THE PENTAVERATE was created by Mike Myers for Netflix and features Myers playing eight different parts throughout the six-episode series. Initially mentioned in Myers' film, SO I MARRIED AN AXE MURDERER (1993), THE PENTAVERATE is about a Canadian journalist who tries to uncover the truth about a secret society of five men who have controlled the world since 1347. JOSEPH KRINGS ACE Joe Krings began his career as a commercial editor in New York City, but quickly grew restless knowing that his real passion was for long form film and television projects. One of Joe's earliest films was a documentary called SUPERMENSCH (2013), helmed by THE PENTAVERATE creator, Mike Myers. From there Joe would go on to make a name for himself with the dramedy feature, CAPTAIN FANTASTIC (2016) and indie films such as the aforementioned THE REBEL IN THE RYE (2017) and Sundance stand-outs, AFTER THE WEDDING (2019) and THE EVENING HOUR (2020). JASMIN WAY Jasmin Way is a New York-based film and television editor. Her first feature, SOLACE (2018) premiered at the Los Angeles Film Festival and won Best Ensemble Cast. Her second documentary feature was the critically-acclaimed THIS CHANGES EVERYTHING (2018) about the history of women in film behind the scenes and in front of the camera. It premiered at the Toronto Film Festival and was the runner-up for the People's Choice award. In addition to her work on THE PENTAVERATE, Jasmin also worked as an editor on the latest season of David Letterman's MY NEXT GUEST NEEDS NO INTRODUCTION (2022). Editing THE PENTAVERATE In our discussion with THE PENTAVERATE editors Joseph Krings ACE and Jasmin Way, we talk about: The challenge of editing a show where one actor plays eight characters Incorporating Netflix's revolutionary "Fix Plix" technology Cutting out profanity to increase the vulgarity The importance of diction in comedy Why you should never follow up an orgy scene with a shot of children The Credits Get your free 100GB of media transfer at MASV 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 Leave me a message on The Rough Cut website Visit The Rough Cut on YouTube

Editor - Todd Downing ACE RUSSIAN DOLL editor, Todd Downing ACE returns to THE ROUGH CUT, having appeared previously in 2020 to talk about his work on the HULU series, MRS. AMERICA. In that series, one of Todd's many standout moments was a sequence he cut that featured a conservative 70's housewife going on a drug-fueled, psychedelic trip at the National Women's Conference. Todd also had a similar episode in the work he did on the series DIFFICULT PEOPLE, on Hulu as well. Put those two together with the mind-bending journeys Todd navigates on RUSSIAN DOLL and you start to see that Todd Downing has carved out quite a niche for himself as the "go to" editor for shows that feature women going on existential and introspective adventures. Season 1 of RUSSIAN DOLL tells the story of a woman named Nadia who is caught in a time loop as the guest of honor at a seemingly inescapable birthday party one night in New York City. She dies repeatedly, always restarting at the same moment at the party. As she tries to figure out what is happening to her, she meets a man who is experiencing the same thing in a different event. In Season 2, Nadia is ten days away from celebrating her 40th birthday when the NYC "6" Train sends her back in time to 1982. She soon discovers she is trapped inside the body of her mother, Lenora, who is pregnant with Nadia. Having learned what a significant impact it had on her family, Nadia decides to pursue the gold Krugerrands her mother lost that same year, in hopes of changing the course of her family's history. Editing RUSSIAN DOLL In our discussion with RUSSIAN DOLL editor, Todd Downing ACE we talk about: Riding the wave of comedy vs drama within a show The kind of notes you get from a showrunner who is also the star Managing the story logic of characters looping through time and inhabiting other characters Natasha's Extraordinary Playlist Dealing with VFX "supply chain" issues The Credits Get your free 100GB of media transfer at MASV Visit ExtremeMusic for all your production audio needs Hear Todd's interview with fellow ACE editors, Emily E. Greene and Robert Komatusu for MRS. AMERICA. 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

Editor - Tia Nolan ACE In creating DR. STRANGE IN THE MULTIVERSE OF MADNESS, editor Tia Nolan ACE and editor Bob Murawski ACE (along with director Sam Raimi) created a film that not only stands on its own, but also picks things up where other MCU projects previously left off. WANDAVISION, SPIDER-MAN: NO WAY HOME and the Disney+ series, LOKI all served to introduce the concept of the multiverse to Marvel fans. And in the case of WANDAVISION and SPIDER-MAN: NO WAY HOME, put Dr. Strange and Wanda Maximoff on a collision course for the events that take place in Multiverse of Madness. DR. STRANGE IN THE MULTIVERSE OF MADNESS is the sequel to DOCTOR STRANGE (2016) and the 28th film in the Marvel Cinematic Universe. The film was directed by Sam Raimi, written by Michael Waldron, and stars Benedict Cumberbatch as Stephen Strange, alongside Elizabeth Olsen, Chiwetel Ejiofor, Benedict Wong, Xochitl Gomez, Michael Stuhlbarg, and Rachel McAdams. In the film, Strange travels into the Multiverse to protect America Chavez (Gomez), a young girl capable of travelling the Multiverse, from Wanda Maximoff (Olsen). Editing DR. STRANGE IN THE MULTIVERSE OF MADNESS In our discussion with editor Tia Nolan, we talk about: Making a "rock witch goddess" with Danny Elfman Doing your Marvel "homework" How to manage a multiverse in editorial How Sam Raimi distinguishes between "clangs" Lessons learned from legendary editor, Richard Marks ACE The Credits Get your free 100GB of media transfer at MASV 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

Editors - Ahmed Hafez, Joan Sobel ACE and Cedric Nairn-Smith Marvel's MOON KNIGHT editing team brought together their diverse background of experiences and talents to deliver a truly new take on what a superhero series can be. Working together for the first time, they overcame the challenge of collaborating over great distances, with editor Joan Sobel working from home in Los Angeles and editors Ahmed Hafez and Cedric Nairn-Smith both in Budapest, but still mostly separate from one another. MOON KNIGHT follows Steven Grant, a mild-mannered gift-shop employee, who becomes plagued with blackouts and memories of another life. Through those visions, Steven discovers he has dissociative identity disorder and shares a body with a mercenary named Marc Spector. As Steven/Marc's enemies converge upon them, they must navigate their complex identities while thrust into a deadly mystery among the powerful gods of Egypt. AHMED HAFEZ With an extensive career spanning more than 20 years full of local and international works in the film industry, Egyptian film editor Ahmed Hafez has presented the final cuts of over 20 films and edited numerous TV commercials and music videos. Hafez started his editing career with many TV commercials and music videos. He won 12 local and international awards for his work in six films. Hafez received international acclaim for his work in CLASH (2016) by director Mohamed Diab, which opened the Un Certain Regard section at the 69th Cannes Film Festival. American film critic Deborah Young described his editing style as "rapid-fire editing" in her Clash Cannes review in The Hollywood Reporter. For his work in Clash, Hafez received three awards at the Carthage Film Festival (JCC), Cairo Film Society Festival and the Egyptian National Film Festival. JOAN SOBEL ACE Editor Joan Sobel ACE made her first foray into tv editing with MOON KNIGHT. Up until then it had all been feature work as both an assistant on films such as; BOOGIE NIGHTS (1997), ALL THE PRETTY HORSES (2000) and KILL BILL: Vol. 1 & 2 (2003-2004). From there she went on to work as an editor on NOCTURNAL ANIMALS (2016), WIDOWS (2018) and THE RHYTHM SECTION (2020). CEDRIC NAIRN-SMITH In addition to his work on MOON KNIGHT, Cedric is known for his work as an editor on; THE BOYS (2019-2020), LISEY'S STORY (2021) and BATES MOTEL (2015-2017). Editing Marvel's MOON KNIGHT In our discussion with Marvel's MOON KNIGHT editing team, we talk about: Breaking away from the MCU and starting fresh The onboarding process for a Marvel editor Replacing the Marvel theme with needle drops Remote collaboration between Budapest and LA The importance of push-ups in the editing room 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 Listen to editor Cedric Nairn-Smith discuss his work on THE BOYS Check out other Rough Cut podcasts on Marvel series - WandaVision, The Falcon and the Winter Soldier, Loki and Hawkeye Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - John Venzon ACE THE BAD GUYS editor, John Venzon ACE started his career off assisting in the cutting rooms of such memorable films as NATURAL BORN KILLERS (1994), TWISTER (1996), FIGHT CLUB (1999) and PANIC ROOM (2002). So, it's fair to say he certainly knows his way around a live action feature. But his career as a lead editor has been highlighted with animated features like SOUTH PARK: BIGGER, LONGER & UNCUT (1999), SHARK TALE (2004), FLUSHED AWAY (2006), STORKS (2016) and THE LEGO BATMAN MOVIE (2017). The result is an editor who is a great resource to talk to about working as an editor in animation and how that contrasts and compares with editing live action. THE BAD GUYS tells the story of the notorious criminal gang of Mr. Wolf, Mr. Snake, Mr. Piranha, Mr. Shark and Ms. Tarantula, who, after a lifetime of legendary heists, are finally caught. To avoid a prison sentence, the animal outlaws must pull off their most challenging con yet -- becoming model citizens. Under the tutelage of their mentor, Professor Marmalade, the dubious gang sets out to fool the world that they're turning good. Editing THE BAD GUYS In our discussion with THE BAD GUYS editor, John Venzon ACE we talk about: The editorial phases of animated features How animated features endured the lockdowns and remote editing requirements Refining the tone and logic of a film so that audiences of all ages can understand and enjoy it The influence of OCEAN'S ELEVEN and OUT OF SIGHT Editors turned voice actors The Credits Get your free 100GB of media transfer at MASV 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

Editor - Geraud Brisson CODA editor, Geraud Brisson wasn't completely unprepared when he took on the challenge of cutting a movie where forty percent of the dialogue is delivered in American Sign Language (ASL). In 2018 he edited a series called THIS CLOSE whose creators and stars were deaf. But it was another series he worked on, LITTLE AMERICA, that would have the biggest impact on him becoming the editor for CODA. While working on that series, Geraud would meet CODA director Sian Heder and discuss her ideas for the indie coming-of-age story she was adapting from the French film, La Famille Bélier. CODA tells the story of a seventeen-year-old girl named Ruby (Emila Jones) who is the only hearing member of a deaf family from Gloucester, Massachusetts. Ruby works mornings before school to help her parents (Marlee Matlin and Troy Kotsur) and brother (Daniel Durant) keep their fishing business afloat. But in joining her high school's choir club, Ruby finds herself drawn to both her duet partner and her latent passion for singing. Editing CODA In our discussion with CODA editor, Geraud Brisson we talk about: When to introduce subtitles into editorial Why you still need to lav mic actors who are speaking with ASL How dialogue delivered as ASL affects shot choices and cut durations What silence sounds like Why the best directors are also the best knitters The Credits Get your free 100GB of media transfer at MASV 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

Editors - Joel Griffen and Gardner Gould SHINING VALE editors Joel Griffen and Gardner Gould teamed up with editor Antonia de Barros to craft a truly unique tv series that deftly blends comedy, fantasy and horror. Created by Jeff Astrof and Sharon Horgan, SHINING VALE stars Courteney Cox, Greg Kinnear, Sherilyn Fenn, Mira Sorvino, Merrin Dungey and Judith Light. It premiered on Starz on March 6th, 2022. The plot of SHINING VALE is described thusly...a dysfunctional family moves from the city to a small town after Patricia "Pat" Phelps, a former "wild child" who became famous through writing raunchy female empowerment novels, is caught cheating on her husband. The house the family has moved into is a place where in the past, terrible atrocities have taken place. Nobody seems to suspect anything odd except for Pat who's convinced she's either depressed or possessed. Pat has been sober for 16 years, but begins to feel very unfulfilled in life – she still hasn't written her second novel, she can't remember the last time she had sex with her husband and her teenage kids have grown up to the point where they don't want their mother in their lives. Soon, the demons haunting the family's new home begin to appear much more real. JOEL GRIFFEN Editor Joel Griffen is known for his work as an editor on such shows as Leverage: Redemption (2021), Almost Paradise (2020), Krypton (2018-2019); and as an assistant editor on The Walking Dead (2014-2015), Super 8 (2011), Rango (2011), Top Chef (2007-2008) and American Idol (2007). GARDNER GOULD Gardner Gould came up in NY and LA cutting rooms under editors Tim Squyres (LIFE OF PI), and Michael Berenbaum (BEFORE NIGHT FALLS). Gould earned his first feature editing credit on DON'T BREATHE (dir. Fede Alvarez; prod. Sam Raimi), grossing over $157M. He followed this taut editorial debut with the lush and exploratory PERFECT (dir. Eddie Alvarez; e.p. Steven Soderbergh), which premiered at SXSW. The same year, drama/sci-fi/thriller HOTEL ARTEMIS (dir. Drew Pearce, prod. Marc Platt) allowed Gould to work a contained ensemble cast into a chest-sweating boil. Sony's GRUDGE reboot (dir. Nicolas Pesce; prod Sam Raimi) followed as an opportunity to re-team with Ghost House producing team to unnerve and terrify horror fans worldwide. He's now lead editor on Starz's new series SHINING VALE (creators Jeff Astrof and Sharon Horgan). Always on the lookout for fresh projects, he also edits for the Sundance Directors Lab. Editing Shining Vale In our discussion with the editors of SHINING VALE, we talk about: Fun with title cards To visit the set or to not visit the set...that is the question Relying on an unreliable narrator Paying homage to the classics of scary cinema Cultivating hand signals for remote collaboration The Credits Get your free 100GB of media transfer at MASV 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

Editor - Justin Krohn, ACE WeCrashed editor, Justin Krohn is An Emmy-nominated American Film & TV editor based in Los Angeles. Krohn began his career working as an assistant editor in Los Angeles & New York, most notably on Martin Scorsese's Bob Dylan documentary, NO DIRECTION HOME (2005). Continuing to work in the Scorsese orbit while in New York, he contributed to the George Harrison documentary LIVING IN THE MATERIAL WORLD (2011), while also working on Michael Haennke's US remake of FUNNY GAMES (2007) & several Bruce Springsteen documentaries for director Thom Zimny. Returning to Los Angeles, Justin began to work as an editor on AMERICAN HORROR STORY (2015-2016), BLOODLINE (2017), TWIN PEAKS: THE RETURN (2017), & THE CURRENT WAR: DIRECTOR'S CUT (2017). Beginning in 2017, he began working with director Sam Esmail on the acclaimed series, MR. ROBOT (2017-2019), starring Rami Malek, & then Amazon's limited series HOMECOMING (2018), starring Julia Roberts. In 2018, he was nominated for an Emmy for his work editing TWIN PEAKS: THE RETURN for director David Lynch. WeCrashed is an American drama streaming television miniseries based on the podcast WeCrashed: The Rise and Fall of WeWork by Wondery. The series stars Jared Leto and Anne Hathaway and follows the entrepreneurial rise and fall of WeWork, one of the world's most valuable startups, and the characters whose chaotic love made it all possible. Editing WeCrashed In our discussion with WeCrashed editor, Justin Krohn, ACE we talk about: Getting film schooled by Thelma Schoonmaker The editorial benefits of cross-boarded shooting Motivated cutting techniques to accelerate the story Making the most out of montages Learning and re-learning the communications skills an editor needs The Credits Get your free 100GB of media transfer at MASV 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

Editor - Annette Davey, ACE MAID editor, Annette Davey, ACE first began her journey into post production in her native Australia. After a stroke of good fortune led her to a program funded by a grant from the Australian government where she would learn her craft amongst sixteen women for six months, Annette began assistant editing in tv and enrolled in film school. From there she would make the move to the U.S. so she could continue her career path, editing a variety of projects in both film and television. Her feature film work is accented by an indie hit about a young waitress in an abusive relationship, 2007's WAITRESS. On the tv side, Annette has worked on such series as; HOW TO MAKE IT IN AMERICA (2010), HUNG (2009-2011), TRANSPARENT (2014), GLOW (2018), ZOEY'S EXTRAORDINARY PLAYLIST (2020) and Hulu's original series, PAM AND TOMMY (2022). MAID is based on a memoir from author Stephanie Land called, Maid: Hard Work, Low Pay, and a Mother's Will to Survive. It tells the story of a young mother named Alex (Margaret Qualley) who leaves her abusive boyfriend in the middle of the night, taking their toddler daughter with her. Once on their own, Alex struggles to make ends meet while working as a maid and dreaming of a future as a writer. Editing MAID In our discussion with MAID editor, Annette Davey, ACE we talk about: The challenge of interviewing for jobs over Zoom Crafting multi-dimensional antagonists The benefits of at-home editing Enhancing the performances of child actors with stolen moments between takes How her own career path influenced what she looks for in an assistant The Credits Get your free 100GB of media transfer at MASV 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

William Hoy ACE, Tyler Nelson, Will Files, Douglas Murray THE BATMAN post production team of editors Bill Hoy and Tyler Nelson, along with supervising sound editors Will Files and Doug Murray, are justifiably proud of the film they've made. In breaking the mold of the superhero archetype, they achieved director Matt Reeves' vision of a noir murder mystery that's more in the vein of classis 70's cinema than the glossy blockbusters of the 21st century. Adding to this feat is the fact that they were forced to shut down one month into production only to return to action in a much more restrictive model of collaboration than they were used to. In spite of those challenges, audiences and critics alike have responded in a big way to the remarkably fresh take on DC Films' dark knight. The story of THE BATMAN begins two years into his crimefighting legacy, forgoing the usual origin story elements often found in super hero tales, and follows Batman / Bruce Wayne as he ventures into Gotham City's underworld where he must track a sadistic killer prone to leaving behind a trail of cryptic clues. As the evidence begins to lead closer to home and the scale of the perpetrator's plans becomes clearer, he must forge new relationships, unmask the culprit and bring justice to the abuse of power and corruption that has long plagued the city. WILLIAM HOY ACE William Hoy is known for his work on NO WAY OUT (1987), DANCES WITH WOLVES (1990), THE BONE COLLECTOR (1999), DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017). TYLER NELSON Tyler Nelson is known for his assistant editing work on THE SOCIAL NETWORK (2010), THE GIRL WITH THE DRAGON TATTOO (2011) and GONE GIRL (2014); as well as his editing work on MINDHUNTER (2017-2019) and SHADOW AND BONE (2021). WILL FILES Will Files is known for his work on CLOVERFIELD (2008), DAWN OF THE PLANET OF THE APES (2014), WAR FOR THE PLANET OF THE APES (2017), STAR WARS: EPISODE VII - THE FORCE AWAKENS (2017) and VENOM (2018). DOUGLAS MURRAY Douglas Murray is known for his work on THE ENGLISH PATIENT (1996), CLOVERFIELD (2008), DAWN OF THE PLANET OF THE APES (2014), WAR FOR THE PLANET OF THE APES (2017) and ANT-MAN AND THE WASP (2018). Making The Batman In our discussion with THE BATMAN post production team, we talk about: The influence of 70's cinema on THE BATMAN Using POV driven sound to internalize character feelings Building the "voice" of the Batmobile The anatomy of a chase scene Futzing music on the fly 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 versions of Media Composer and Pro Tools Hear editor Bill Hoy talk about editing THE CALL OF THE WILD See re-recording mixer and sound designer Will Files and the post production team from STRANGER THINGS discuss Season Three Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube