Editor, Fred Thoraval Promising Young Woman editor, Fred Thoraval could make a claim to knowing a thing or two about editing movies about revenge.  Taking a quick glance at his IMDB page not only reveals revenge tales like Unforgettable and Peppermint, but also the Liam Neeson classic...Taken.  But in talking to Fred we meet an editor who readily embraces all kinds of storytelling; which comes in handy with Promising Young Woman as that film gracefully blends multiple genres at once. Editing Promising Young Woman In our discussion with Promising Young Woman editor, Fred Thoraval we talk about: Building the movie around a music playlist from director Emerald Fennell Balancing the tonal shifts between mystery, horror and romantic comedy The differences between men and women directors Literally slowing down time to slow down time The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Tariq Anwar One Night in Miami editor, Tariq Anwar has a career that spans over fifty years and features such memorable films as American Beauty and The King's Speech.  For his latest movie, Tariq collaborated with actor and first time director Regina King to turn Kemp Powers' play into a critically acclaimed film that's currently streaming on Amazon Prime Video.  With such an extensive resume, it should come as no surprise that this isn't even the first time Tariq has worked with a director who is also an actor.  During the podcast Tariq recounts his time working with Robert DeNiro on The Good Shepherd.  Despite being such a celebrated and formidable actor, DeNiro proved to be a humble and collaborative director who even followed Tariq's advice for reshooting a scene because the actor's eye line was off. Editing One Night in Miami In our discussion with One Night in Miami editor, Tariq Anwar we talk about: Convincing Director, Regina King to let him do temp music The skills and processes from cutting film that still hold up in the digital world Blocking scenes in tight spaces so that the editor always has something to work with The importance of an editor being uninhibited and working without fear Building smooth transitions between scenes His low success rate in job interviews The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Editor - Mikkel E.G. Nielsen, Supervising Sound Editor - Nicolas Becker Sound of Metal editor Mikkel E.G. Nielsen and Supervising Sound Editor Nicolas Becker took the aspects of collaboration between picture and sound to new levels for director Darius Marder's narrative feature debut.  Despite being a scripted film, the movie has a strong documentary style and an innovative approach to immersing the audience into the experience of a man coming to grips with the loss of his hearing.  Debuting at the 2019 Toronto International Film Festival (TIFF), Sound of Metal has been winning over critics and audiences with this "radically organic" approach to storytelling.  The film is currently available to watch on Amazon Prime Video. Editor Mikkel Nielsen was brought up on Danish documentary films and had previously made a name for himself on such projects as Beasts of No Nation.  For Sound of Metal, he implored director Darius Marder to give him some room to do an assembly of the film near the end of production without distraction or interruption.  Meanwhile, Supervising Sound Editor Nicolas Becker, who had previous experience working with the sound of silence on the film, Gravity,  jumped right in on production; capturing and developing the sounds that would create the world of drummer Ruben Stone's decaying hearing and define the Sound of Metal. Making Sound of Metal In our discussion with Sound of Metal editor Mikkel E.G. Nielsen and Supervising Sound Editor Nicolas Becker we talk about: Waiting until late in production to start an assembly cut Creating a visual and auditory language for a film Manipulating sound to awaken the senses of the audience Working in stereo to stay portable and show that less is more Shooting on film to "up the game" of the cast and crew The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Craig Alpert ACE, James Thomas, Michael Giambra Borat - Subsequent Moviefilm editors; Craig Alpert ACE, James Thomas and Mike Giambra drop in on this episode of The Rough Cut to talk about bringing Sacha Baron Cohen's most notorious character back in 2020.  Although Cohen had stated he was retiring his Borat character back in 2007, largely due to the fact that everybody now knows who Borat is and that it would be difficult to pull off the same feat he accomplished in the original film, current geopolitical events dictated that the world needed Borat once again. The main question is, how do you make this film happen in secret AND during a global pandemic?  For one thing, you start with three talented and experienced editors; ones who are both familiar with Sacha and his storytelling sensibilities, but who also have a proven track record in comedic filmmaking.  Craig Alpert ACE not only logged some hours on the original "Borat" movie, but also has films such as Knocked Up, Pineapple Express and Deadpool 2 under his belt.  Editor James Thomas goes all the way back with Sacha to the classic British comedy series, The 11 O'Clock Show, where characters like Borat and Ali G were born, and James would continue to be a mainstay on Sacha's work from them on.  Rounding out the team, Michael Giambra brought his formidable editorial skills in comedy and docu-style storytelling from his experiences on Nathan For You, The Eric Andre Show, Kroll Show and Baskets. Editing Borat - Subsequent Moviefilm In our discussion with Borat - Subsequent Moviefilm editors; Craig Alpert ACE, James Thomas and Mike Giambra, we talk about: When then idea for bring Borat back came about and working in secrecy Closing the cutting rooms and their methods for going remote in the pandemic How the story of the film evolved alongside politics and the pandemic Balancing the workload amongst multiple editors How crucial transcriptions are for finding footage Cutting docu-style "man on the street" scenes vs scripted The benefit of doing old school "KEM" string outs Having fun temping Borat's voice The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, William Goldenberg ACE News of the World editor, William Goldenberg ACE ("Billy" to his friends), joins The Rough Cut to discuss his new film with director Paul Greengrass.  News of the World is the second film Billy has done with Paul, their first being the film 22 July.  Based on a book of the same name by author Paulette Jiles, News of the World follows Captain Jefferson Kidd (played by Tom Hanks), a Civil War veteran who now makes a living traveling the American south reading newspapers to townsfolk for ten cents a head.  During his travels, Kidd finds a young girl who was captured by a Native American tribe as an infant and takes it upon himself to return her to her last remaining family. A highly accomplished editor, Billy has been nominated for an OSCAR® a total of five times; The Insider, Seabiscuit, The Imitation Game, Zero Dark Thirty and Argo.  The latter two nominations came on the same year, with Billy ultimately winning for Argo, directed by Ben Affleck.  The two also worked together on Live By Night and Gone Baby Gone. Editing News of the World In our discussion with News of the World editor William Goldenberg ACE, we talk about: Working with different assistants in different locations How to change the audience's alignment with the characters through editing How to create character arcs while cutting action scenes Why everyone just wants to hear about his time on The Breakfast Club Learning at the hands of editing legends, Dede Allen and Michael Khan Memories of working with comedian-turned-director Richard Pryor on his autobiographical film The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer and Media Composer Ultimate Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Editor, Richard Pearson ACE Wonder Woman 1984 editor, Richard Pearson ACE checks in on this episode of The Rough Cut to share his experience cutting Patty Jenkins' new super hero blockbuster.  Rick's no stranger to the DC Extended Universe or the Marvel Cinematic Universe either for that matter.  Rick co-edited the much discussed Justice League and also cut Iron Man 2 alongside Rough Cut "three-timer" Dan Lebental. Rick also has plenty of experience doing sequels with other big franchises, cutting Men In Black 2, Quantum of Solace and The Bourne Supremacy.  His name can also be found on monster movies like, Godzilla: King of Monsters and Kong: Skull Island. In 2007 he was nominated for an OSCAR® for his work on United 93, so you know he can deliver the goods with historical dramas.  And if it’s comedy you’re after, he’s got those too, with his very first feature being Bowfinger, directed by Frank Oz, written by and starring Steve Martin and co-starring Eddie Murphy. Rick is currently working at home (in his adult son's old bedroom) on his next feature. Editing Wonder Woman 1984 In our discussion with Wonder Woman 1984 editor Richard Pearson ACE, we talk about: His collaborative process with directory Patty Jenkins and her "hands off" approach during production Having two opening sequences for the film His system for maintaining multiple sequence versions and doing "beauty contests" Playing in the visual effects sandbox to create storytelling beats Having different assistants in different locations The benefits of an editor visiting the set The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, Stephen Mirrione ACE The Midnight Sky editor, Stephen Mirrione ACE has spent the past twenty-five years building an impressive body of work.  Unlike many editors who begin their journey into post production as assistants, Stephen made a name for himself right away as an editor in the indie film world.  His work with directors Doug Liman (Getting in, Swingers, Go) and Jill Sprecher (Clockwatchers, Thirteen Conversations About One Thing) quickly established Stephen as a creative force to be reckoned with in the editing room. Soon after Stephen would meet a director who would have a significant impact on Mr. Mirrione's career...Steven Soderbergh.  Their time together would begin with the film Traffic.  This would not only be the first of Stephen's three Oscar nominations, but also his first Oscar win.  Following Traffic, Stephen would take on the duties of editing Soderbergh's "Ocean's" films, starring an actor that would eventually become a prominent director in his own right, George Clooney. When Clooney began looking for an editor for his first project, Confessions of a Dangerous Mind, Soderbergh recommended Mirrione.  The creative partnership between Clooney and Mirrione currently spans over eighteen years and encompasses seven feature films, culminating with their latest effort, The Midnight Sky.  Not one to rest on his laurels too long, over that same time period Mirrione would also edit five of Alejandro G. Iñárritu's films (21 Grams, Babel, Biutiful, Birdman or (The Unexpected Virtue of Ignorance) and The Revenant). Editing The Midnight Sky In our discussion with The Midnight Sky editor Stephen Mirrione ACE, we talk about: How Stephen's collaborative workflow with George Clooney has evolved over the past eighteen years Knowing how and when to offer objective opinions Putting together the tools and the team for a film The challenge of screenings and reshoots in a "pandemic post" workflow Balancing the pacing of films featuring lots of quiet moments The Credits Visit ExtremeMusic for all your production audio needs Hear from Stephen's assistant editors, Patrick J Smith and Chelsea Dinsdale See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Hillbilly Elegy editor James Wilcox, ACE joins the Rough Cut to talk about cutting Ron Howard's new 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".  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. The Crew James D. Wilcox, ACE - Genius "Einstein - Episode 1", Hawaii 5-0, CSI - Miami, My Wife and Kids The Coverage Using the book as a reference for adding voice over How editing news can help you with cutting scripted features Acting classes for editors The different approaches to editing film vs tv Falling in and out of love with temp mixes Modulating masterful performances The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

In this episode of The Rough Cut, we debut the first in our series of podcasts celebrating the all too often unsung heroes of post production, the assistants!  Assistant editing in film and television can be a demanding, but crucial first step in an editor's journey.  On hand are three very talented and experienced assistants who share their insights, advice and experiences from the cutting room. The Crew Patrick J. Smith - Top Gun: Maverick, The Revenant, Zero Dark Thirty Anna Terebelo - Marvel's Agents of S.H.I.E.L.D., Helstrom, Grace and Frankie Chelsea Dinsdale - Borat Subsequent Moviefilm, Ocean's Eight, Suburbicon The Coverage The pros and cons of film school The importance, or not, of a reel Tools and techniques you need to know as an assistant Union regulations and the importance of good negotiating skills Walking the line between competition and collaboration Favorite moments from their time in film and tv post The Credits Visit ExtremeMusic for all your production audio needs See the latest Special Offers for Avid Media Composer Learn Avid for free with Media Composer | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube      

As one of the most revered series in television history, it should come as no surprise the the post team from Breaking Bad would know a thing or two about "breaking in" to the industry.  And not just breaking in, but staying in and staying at the top of your game.  Presented by Avid as a live Zoom webinar, editors Kelley Dixon ACE and Chris McCaleb ACE along with sound supervisor Kathryn Madsen entertained and informed a worldwide audience with their collective thoughts, experiences and insights. BIOS Kelley has spent the last thirteen years editing Breaking Bad, Better Call Saul, The Walking Dead, Preacher, HBO's Luck, and Shameless, among others.  She cut her first feature The Goldfinch in 2018.  She has won 1 Emmy for Breaking Bad and has received 9 Emmy nominations and 7 ACE nominations for her work. Chris McCaleb has been editing TV series like Better Call Saul, Halt and Catch Fire, Fear the Walking Dead, Patriot, Lodge 49 and Narcos since 2014.  He has received three Emmy and three ACE nominations for Better Call Saul and Breaking Bad. Kathryn began her career in sound as an assistant editor. She soon moved up to ADR Supervisor and then to Sound Supervisor. Her favorite gigs have been the TV series Breaking Bad and Better Call Saul, and the film Hell or High Water.  In 2013 she was dubbed the "Goddess of Sound" by Aaron Paul and Bryan Cranston Kathryn has been nominated for seven Golden Reel awards, winning in 2020, as well as eight Emmy nominations. During the presentation the team touched on a wide variety of topics including... How important is a demo reel and an agent The impact of being in a union The schedule of a 1hr series Cutting trailers to sharpen your skills The tools they use now vs what they used when they were starting out Avoiding the pigeon holes Visit ExtremeMusic for all your production audio needs Learn Avid editing for free with Media Composer | First Learn Pro Tools for free with Pro Tools | First Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube