Editors - Justin Bourret ACE, Todd Zelin, Dave Canseco and Joseph Ettinger If THE RIGHTEOUS GEMSTONES editors ever tire of working in postproduction, perhaps they can get a job at Cinnabon, because their cutting rooms have the unique distinction of being located in a mall.  But considering how much fun the quartet has working on the show and with one another, that career change might just have to wait awhile.  For now, audiences can enjoy three seasons of their hilarious work on MAX. THE RIGHTEOUS GEMSTONES are living proof that worship pays dividends in all sizes. Patriarch Eli (John Goodman), the man most responsible for the tremendous success of the family's megachurch, is in mourning over the loss of his wife. Jesse (Danny McBride), the eldest of the three grown Gemstone siblings, looks to lead in his father's footsteps, but finds his past sins jeopardizing the family ministry. Next in line comes middle sister Judy (Edi Patterson), who secretly lives with her fiancé and dreams of escaping the Gemstone compound. Rounding out the dysfunctional trio is pseudo-hipster Kelvin (Adam DeVine), the youngest of the preachers and a thorn in Jesse's side. As the family battles numerous threats to their renowned religious empire, they continue to spread the good word... and make a solid buck doing so. JUSTIN BOURRET, ACE In addition to his editorial duties, Justin also serves as co-producer on THE RIGHTEOUS GEMSTONES. He is also known for his work on FOR ALL MANKIND (2019) and VICE PRINCIPALS (2016). TODD ZELIN New Jersey native Todd is an editor and producer, known for FRESH OFF THE BOAT (2015) and ARRESTED DEVELOPMENT (2003). DAVE CANSECO David Canseco began his journey with THE RIGHTEOUS GEMSTONES in Season 1 as an assistant editor, before working his way up to editor on Season 3.  He has also worked on THE GOLDBERGS (2013) and POOLMAN (2023). JOSEPH ETTINGER New to the Gemstones team in Season 3, Joseph is also known for ROAR (2022) and DEAD TO ME (2019). Editing THE RIGHTEOUS GEMSTONES In our discussion with the "GEMSTONES" editing team, we talk about: Setting up shop in Sears Walking the tonal tightrope Going to editing summer camp Mining the gems from all that footage Fun with full frontal nudity The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Kelley Dixon, ACE and Josh Earl, ACE The OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE have long been friends outside of the cutting room, but "Obi-Wan" is the first project they've shared.  5x Emmy-winning editor, Josh Earl didn't have to think twice about Kelley Dixon's offer to join the Lucasfilm series, ostensibly as her assistant even though he's worked for years as an editor.  Being a self-professed "Star Wars Nerd", Josh jumped at the chance no matter what his role would be.  As for Kelley, her plan was always to have Josh's creative editorial talents shine through during post; culminating in him sharing editing credit with her on the series finale and earning both another Emmy nomination. OBI-WAN KENOBI takes place ten years after the events of STAR WARS: EPISODE III - REVENGE OF THE SITH (2005)—in which the Jedi were purged with Order 66 and Obi-Wan Kenobi's apprentice, Anakin Skywalker, became the Sith Lord Darth Vader—Kenobi is in hiding on the planet Tatooine, watching over Anakin's son, Luke, when he is called on a mission to rescue Anakin's daughter, Leia, after she is kidnapped by the Galactic Empire's Jedi-hunting Inquisitors in a plot to draw Kenobi out.  This leads to yet another dramatic duel between Kenobi and Vader. KELLEY DIXON, ACE In addition to her Emmy®-nominated work on OBI-WAN KENOBI, Kelley won an Emmy, plus three additional nominations, for her work on BREAKING BAD (2008-13), and would go on to rack up five more nominations for her subsequent work on the BREAKING BAD spinoff, BETTER CALL SAUL (2015-17).  In recent years, Kelley has expanded her resume to include feature films such as THE GOLDFINCH (2019) and BLACK PANTHER: WAKANDA FOREVER (2022). JOSH EARL, ACE Josh earned his Star Wars "cred" long before his turn on OBI-WAN KENOBI, having cut MARK HAMILL'S POP CULTURE QUEST (2016-17).  But it was his work on the long-running reality hit DEADLIEST CATCH (2006-2019) that put five Emmy's on Josh's trophy shelf, right next to his Star Wars action figures.  Among his many other credits, Josh has cut shows like AROUND THE WORLD IN 80 WAYS (2011) and documentaries such as SKI BUM: THE WARREN MILLER STORY (2019). Editing OBI-WAN KENOBI In our discussion with the OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE, we talk about: Bringing something from Breaking Bad to Tatooine Making the jump from editor to assistant editor? Being on location in "The Volume" Synthesizing new sounds for the Sith Lord Intercutting with lightsabers The Credits Visit ExtremeMusic for all your production audio needs Subscribe to a low-cost monthly or annual subscription of Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Laura Zempel and Nat Fuller The Emmy®-nominated BEEF editing team of Laura Zempel and Nat Fuller came into this project with plenty of experience crafting storylines featuring complicated characters and situations.  Nat kicked off his career with another well-known Netflix property, STRANGER THINGS, starting as an assistant before transitioning to full editorial duties on the Duffer Brothers supernatural juggernaut.  For Laura, her time in the editing suites of complex dramas began with assisting on DEXTER, to ultimately cutting on HBO's critically-acclaimed EUPHORIA. Created by Korean director Lee Sung Jin (Sunny) for Netflix, BEEF stars Steven Yeun and Ali Wong as Danny Cho and Amy Lau, two strangers whose involvement in a road rage incident escalates into a prolonged feud. LAURA ZEMPEL In addition to her Emmy®-nominated work on BEEF, Laura's skills as an editor can be seen in EUPHORIA (2019-22), DISPATCHES FROM ELSEWHERE (2020) and ROOM 104 (2017-19).  Prior to that, she assisted on HOUSE OF CARDS (2014), DEXTER (2011-13) and IF I CAN DREAM (2010). NAT FULLER Nat's journey to being an Emmy®-nominated editor began with assisting duties on the features MALEFICENT (2014) and THE LAST WITCH HUNTER (2015), in addition to the debut season of STRANGER THINGS (2017).  Fuller would go on to co-edit the indie THE PEANUT BUTTER FALCON (2019) amidst taking on lead editing duties for Seasons 2-4 for STRANGER THINGS (2017-22). Editing BEEF In our discussion with the BEEF editing team of Laura Zempel and Nat Fuller, we talk about: Filling two gigs with one agent Nailing the ninety's needle drops Not taking sides in the edit Sound designing drug trips Taming the tension in postproduction The Credits Visit ExtremeMusic for all your production audio needs Subscribe to a low-cost monthly or annual subscription of Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Jennifer Lame ACE, Additional Editor - Mike Fay, 1st Assistant Editor - Nick Ellsberg and 1st Assistant Film Editor - Tom Foligno The OPPENHEIMER editing team of Jennifer Lame ACE, Mike Fay, Nick Ellsberg and Tom Foligno applied their collective storytelling talents to film technology both old and new.  While Jennifer and Mike worked to shape and refine Christopher Nolan's story into an instant classic, Nick and Tom were tasked with mastering a hybrid film and digital workflow to make the most of Nolan's brilliant 70MM IMAX footage. Based on the 2005 biography American Prometheus by Kai Bird and Martin J. Sherwin, the film chronicles the life of American theoretical physicist and polymath J. Robert Oppenheimer. The story predominantly focuses on Oppenheimer's early studies, his direction of the Manhattan Project during World War II, and his eventual fall from grace due to his 1954 security hearing; juxtaposed with this are events surrounding Oppenheimer's relationship with Lewis Strauss, a senior member of the United States Atomic Energy Commission who sees Oppenheimer as a rival. It stars Cillian Murphy as Oppenheimer and Robert Downey Jr. as Strauss, with the remaining ensemble supporting cast including Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek and Kenneth Branagh. JENNIFER LAME, ACE While Jen claims that her "wheelhouse" in editorial is films that feature people talking in rooms, as her work on MANCHESTER BY THE SEA (2016) and MARRIAGE STORY (2019) both prove, you wouldn't know it by her standout work in bigger features like Christopher Nolan's TENET (2020) and BLACK PANTHER: WAKANDA FOREVER (2022). MIKE FAY As Jen Lame was wrapping up things on WAKANDA FOREVER, she entrusted the early assembly duties on OPPENHEIMER to Mike Fay.  Prior to OPPENHEIMER, Mike had been sharpening his skills as an assistant editor on LIFE OF PI (2012) and GHOSTBUSTERS: AFTERLIFE (2021) and as a VFX Editor on JOHN WICK: CHAPTER 3 - PARABELLUM (2019) and BULLET TRAIN (2022). NICK ELLSBERG Nick and Mike Fay had more than a passing familiarity prior to OPPENHEIMER.  Like Mike, Nick worked on BULLET TRAIN (2022), GHOSTBUSTERS: AFTERLIFE (2021), and JOHN WICK: CHAPTER 3 - PARABELLUM as an assistant editor. TOM FOLIGNO A veteran of the Marty Scorsese film school, having worked as an assistant on CASINO (1995), BRINGING OUT THE DEAD (1999), GANGS OF NEW YORK (2002) and THE AVIATOR (2004), Tom was able to return to his film editing roots and dust off his splicer for his role in the film cutting room on OPPENHEIMER. Editing OPPENHEIMER In our talk with the OPPENHEIMER editing team, we discuss... The beauty of awkward people talking in rooms Keeping up the pace on a three-hour biopic Whistling past the biggest scene in the movie because you already know it will be great Bringing film workflows back to life, bigger than ever Loving Chris Nolan's "all business' approach in the cutting room The Credits Visit Extreme Music for all your production audio needs Check out the latest with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Nick Houy ACE, VFX Editor - Matt Garner and Apprentice Editor - Maya Rivera The BARBIE editing team of Nick Houy ACE, Matt Garner and Maya Rivera seemed to have as much fun in the cutting room as what audiences saw on the big screen.  Despite this being the first time the three worked together, they described the process of working on BARBIE to be an open, collaborative "family" atmosphere where both personal time and creative contributions were valued. Stereotypical "Barbie" (Margot Robbie) and a wide range of fellow Barbies all reside in Barbieland, a matriarchal society where all women are self-confident, self-sufficient, and successful. While their Ken counterparts spend their days engaging in recreational activities at the beach, the Barbies hold important positions as doctors, lawyers, and politicians.  Beach "Ken" (Ryan Gosling) is only happy when he is with Barbie and seeks a closer relationship, but Barbie rebuffs him in favor of independence and female friendships.  Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbieland.  However, when they get a chance to go to the "real" world, they soon discover the joys and perils of living among humans. NICK HOUY, ACE NYC-based Nick Houy is now on his third film with actor/writer/director Greta Gerwig.  The two previously teamed up for LADY BIRD (2017) and LITTLE WOMEN (2019).  In addition to his work with Gerwig, Nick has also cut for actor/director Jonah Hill on MID90'S (2018) and STUTZ (2022).  In 2017, Nick won an Emmy co-editing the first episode of the mini-series THE NIGHT OF alongside editor Jay Cassidy. MATT GARNER Coming into his work on BARBIE, Matt brought with him the enviable experience of having worked on three films for director Martin Scorsese; HUGO (2011), THE WOLF OF WALL STREET (2013) and THE IRISHMAN (2019). MAYA RIVERA Apprentice editor Maya Rivera's editorial career had hardly begun and yet she was a valued contributor to the biggest film of 2023.  Much of that can be attributed to her initiative in walking up to editor Nick Houy at a screening for LITTLE WOMEN and saying, "I want to work with you"! Editing BARBIE In our talk with the BARBIE editing team, we discuss... First reactions to a film nobody thought could happen Building a better Barbieland Barbie vs The Irishman Whose baby is this? Making things up (music?  entire scenes?) as you go along The Credits Visit Extreme Music for all your production audio needs Check out the latest with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Richie Edelson and Sarah Zeitlin The ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin walked similar but separate paths in the early stages of their careers.  Each cut their editorial teeth in the world of unscripted and both took a turn at the same mockumentary sitcom format that they would employ in the show that finally united them as co-editors. Abbott Elementary is a mockumentary sitcom created by Quinta Brunson for ABC. It stars Brunson as Janine Teagues, an optimistic second-grade teacher at the poorly funded Willard R. Abbott Elementary School; a predominantly Black Philadelphia public school where a documentary crew is recording the lives of teachers working in underfunded, mismanaged schools.  Although conditions at the school are harsh and most teachers don't last more than two years, Teagues is determined to help her students despite the circumstances. RICHIE EDELSON Richie's early career path found him in the cutting rooms of popular unscripted series such as PROJECT RUNWAY (2008), REAL CHANCE OF LOVE (2008-09) and ROB DYRDEK'S FANTASY FACTORY (2009).  Soon after he would get to flex his comedy chops on sitcoms like PARKS AND RECREATION (2012-13), BLACK-ISH (2014-17) and SUPERSTORE (2017-21).  It would be Edelson at the helm of the Avid when it came time to develop the pilot for the soon-to-be hit series, ABBOTT ELEMENTARY (2021-23). SARAH ZEITLIN Like Richie, Sarah has also logged a few miles on the road of reality television; assisting on HELL'S KITCHEN (2008), plus assisting and editing on THE MILLIONAIRE MATCHMAKER (2008-11).  But it would be assisting on the mockumentary hits MODERN FAMILY (2009-10) and PARKS AND RECREATION (2012) that would be a sign of things to come for her role as editor on ABBOTT ELEMENTARY (2022-23).  Sarah's work as an editor can also be seen in dramas like HOMELAND (2017-20) and MAYOR OF KINGSTOWN (2021). Editing Abbott Elementary In our discussion with the ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin, we talk about: The hidden benefits of commercial breaks The anatomy of a mockumentary sitcom The truth of building a character through comedy The sound of silence or just a bad speaker? Lovely parting gifts The Credits Visit ExtremeMusic for all your production audio needs Learn all about the Media Composer for Students program Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Eddie Hamilton ACE MISSION: IMPOSSIBLE - DEAD RECKONING PART 1 editor Eddie Hamilton ACE has been immersed in the TCEU (Tom Cruise Extended Universe) since 2015 when Eddie took the editorial helm of MISSION IMPOSSIBLE: ROGUE NATION.  And with the exception of a quick return to his roots with director Matthew Vaughn for KINGSMAN: THE GOLDEN CIRCLE (2017), Eddie has spent all his subsequent time working on MISSION: IMPOSSIBLE - FALLOUT (2018), TOP GUN: MAVERICK (2022) and the upcoming MISSION: IMPOSSIBLE - DEAD RECKONING PARTS 2 (2024).  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today. In this latest installment of the now 7-film long action franchise, Ethan Hunt and the IMF team must track down a terrifying new weapon that threatens all of humanity if it falls into the wrong hands. With control of the future and the fate of the world at stake, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than the mission -- not even the lives of those he cares about most. Editing Mission: Impossible - Dead Reckoning Part 1 In our discussion with editor Eddie Hamilton ACE, we talk about: Cutting two films at one time Action first, dialogue last "Have 160TB hard drive, will travel" The verbal choreography of an exposition scene Edgar Wright's keen ear for storytelling The Credits Visit ExtremeMusic for all your production audio needs Hear Eddie talk about his work on Mission: Impossible - Fallout Take a guided tour with Eddie on his Avid timeline from Mission: Impossible - Fallout Listen to Eddie's podcast on TOP GUN: MAVERICK Check out Eddie Hamilton's Timeline Tour for TOP GUN: MAVERICK 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 - Nena Erb, ACE JOY RIDE wasn't the film Emmy-winning editor Nena Erb ACE was looking for when she asked her agent to see what was out there, but Nena WAS the editor that JOY RIDE was looking for.  Fortunately, they found each other, because together they created a film that broke boundaries, not to mention the mold, when it comes to how Asian women are portrayed in comedy features.  After building a career in TV on reality shows like REAL HOUSEWIVES OF ORANGE COUNTY and DANCING WITH THE STARS, as well as comedy hits like CRAZY EX-GIRLFRIEND and INSECURE, Nena wanted a drama for her first big feature project, and within the brash bawdiness of JOY RIDE, Nena found the drama she was seeking. JOY RIDE stars Ashley Park as upwardly mobile career woman, Audrey Sullivan.  When Audrey's business trip to Asia goes sideways, she enlists the help of Lolo (Sherry Cola), her childhood best friend, Kat (Stephanie Hsu), a college friend, and Deadeye (Sabrina Wu), Lolo's eccentric cousin. Their epic, no-holds-barred experience becomes a journey of bonding, friendship, belonging and wild debauchery that reveals the universal truth of what it means to know and love who you are. Editing Joy Ride In our discussion with JOY RIDE editor Nena Erb ACE, we talk about: Finding what you're looking for in the place you weren't looking Dialing up the "dirty" all the way to the drama The post process for first-time directors The subtle art of sub-titles in comedy Sound design for assistants The Credits Visit ExtremeMusic for all your production audio needs Check out what's new with Avid Media Composer Hear Nena discuss her Emmy-winning work on INSECURE Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Editors - Mike McCusker ACE, Andrew Buckland ACE and Dirk Westervelt ACE The INDIANA JONES AND THE DIAL OF DESTINY editing team of McCusker, Buckland and Westervelt have been amping up the action in the cutting room for a while now.  First joining up for James Mangold's LOGAN (2017); the team would collaborate once more on Mangold's FORD V FERRARI (2019) before finding themselves at the editorial helm of the fifth, and most likely final, installment of the Indiana Jones franchise. INDANA JONES AND THE DIAL OF DESTINY sees daredevil archaeologist Indiana Jones race against time to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, he soon finds himself squaring off against Jürgen Voller, a former Nazi who works for NASA. MIKE McCUSKER, ACE Aside from his Oscar®-winning turn in Mangold's FORD v FERRARI (2019), Mike McCusker is known for a wide variety of films including; WALK THE LINE (2005), AUSTRALIA (2008), THE AMAZING SPIDER-MAN (2012) and THE GREATEST SHOWMAN (2017) ANDREW BUCKLAND, ACE Also an Oscar®-winner for FORD v FERRARI (2019), Andrew "Don't call me Andy" Buckland is a frequent editorial collaborator with Mike McCusker on films like; 3:10 TO YUMA (2007), THE WOLVERINE (2013) and THE GIRL ON THE TRAIN (2016). DIRK WESTERVELT, ACE When he's not cutting for James Mangold on projects such as; LOGAN (2017) and FORD v FERRARI (2019), Dirk's editing chops can be seen in  DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019). Editing INDIANA JONES AND THE DIAL OF DESTINY In our discussion with Mike, Andrew and Dirk, we talk about: Making the most of motifs To Wilhelm or not to Wilhelm Dealing with dialogue during de-aging A touch of 70's cinema for Indy Andrew Buckland - Man of a Thousand Voices The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program See Dirk present the Avid timelines from DIAL OF DESTINY Listen to Mike and Andrew talk about their work on FORD v FERRARI Hear Dirk discuss cutting ZOMBIELAND: DOUBLE TAP Watch Dirk present a behind the scenes tour of DEADPOOL 2 Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Randy Trager, ACE NIMONA editor, Randy Trager, ACE makes a return trip to The Rough Cut to share the inside story of how his latest film went from dead on the cutting room floor to live and loud on Netflix.  Beginning its development life under the banner of Blue Sky studios and its parent company 21st Century Fox, NIMONA and the rest of the Blue Sky team were moved under Disney during their acquisition of Fox.  The film's rocky development road seemingly ended in April 2021 when Disney shuttered Blue Sky.  With her relentless, never-say-die attitude, NIMONA found new life again with Annapurna Pictures and Netflix. NIMONA tells the tale of Ballister Boldheart (Riz Ahmed), a knight in a futuristic medieval world, who is framed for a crime he didn't commit.  The only one who can help him prove his innocence?  Nimona (Chloë Grace Moretz), a mischievous teen with a taste for mayhem - who also happens to be a shapeshifting creature Ballister has been trained to destroy. But with the entire kingdom out to get him, Nimona's the best (and technically the only) sidekick Ballister can hope for.  And as the lines between heroes, villains, and monsters start to blur, the two of them set out to wreak serious havoc - for Ballister to clear his name once and for all, and for Nimona to...just wreak serious havoc. RANDY TRAGER, ACE Randy began his editorial journey as an assistant editor on features such as NURSE BETTY (2000), WHAT WOMEN WANT (2000) and MEN IN BLACK II (2002).  He then made the move to working in feature animation as an assistant on ROBOTS (2005) until he got bumped up to the editor's chair on RIO (2011), THE PEANUTS MOVIE (2015) and SPIES IN DISGUISE (2019) Editing Nimona In our discussion with NIMONA editor Randy Trager ACE, we talk about: How to pack and unpack an animated feature Keeping the tone light while keeping it real The virtual future of animation studios Voice over and over and over again Breaking the law with needle drops The Credits Visit ExtremeMusic for all your production audio needs Check out what's new with Avid Media Composer Hear Randy discuss his work on Blue Sky's SPIES IN DISGUISE Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube