Art of the Cut

Today on Art of the Cut, we speak with the editors of Amazon Prime’s Spider Noir. In two separate interviews we first spoke to Jennifer Barbot, ACE, then to Geraud Brisson, ACE, and Eric Kissack, ACE. 
Jennifer Barbot cut the series finale of Amazon Prime’s Lucky. Her other work includes Dope Thief, Your Honor, Raised by Wolves, and Man in the High Castle.
Geraud has been on Art of the Cut before for Coda and for Lessons in Chemistry, for which he was nominated for an ACE Eddie. His other work includes the recently released film Being Heumann, the film Camp X-Ray, and the TV series, Shogun.
Eric has been on Art of the Cut before for his work on The Studio, on which he also worked as a producer. His other work includes Pam & Tommy, The Good Place, VEEP, and Horrible Bosses 2. 
Todays discussion includes the creativity of the Emmy-winning sound of a different kind of Spider, the advantages of collaborating in person, and the importance of temping voices with the right cadence.
If you'd like to read long with this podcast and see the trailer, images of the editors and images from the show, check out the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut we speak with the editors of the HBO series, Lanterns, which recently had its season finale.
We spoke with Emily Greene, ACE, Matthew Colonna, ACE, and supervising editor, Vikash Patel.
Vikash - or Viks - has been on the show before for Black Rabbit and Ozark. He was nominated for Emmys for both those shows. He also won an Emmy for Top Chef. Viks’ other work includes The Sympathizer, The Morning Show, and Jack Ryan.
Emily was nominated for an Emmy and an ACE Eddie for American Crime Story. Her other work includes Foundation, The Blacklist, Percy Jackson and The Olympians, and Mrs. America.
Matt is an Emmy nominee for Dexter. His other work includes, It: Welcome to Derry, Narcos, and Friday Night Lights.
Our discussion covers the dangers or remote work, developing the aesthetic of a series in the pilot, and editing multiple versions of a scene to test the right tone.
If you'd like to read along with this podcast and see images of the post team, check out the BorisFX blog.
borisfx.com/blog/aotc

Today on Art of the Cut e speak with Conor O’Neill and Oscar-winning editor Stephen Mirrione, ACE, about editing Alejandro Inarritu’s Digger.
Stephen’s been on Art of the Cut before for F1 and The Revenant, for which he was nominated for an Oscar award BAFTA and an ACE Eddie. He was nominated for another BAFTA  and an ACE Eddie for Birdman. He was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel.
He also WON the Oscar and was nominated for a BAFTA and an ACE Eddie for editing Traffic. 
Conor has edited numerous documentaries including Cobain: Montage of Heck, Capitalism: A Love Story, and Crossfire Hurricane for which he was nominated for an Emmy. He was additional editor on Moneyball and was an editor on the TV series Lioness. He also won the special jury prize at Sundance for the editing of Murderball
Today’s discussion includes the value of screening dailies with the director and other H.O.D.s, how Hamnet influenced Digger, and what NOT to say in a job interview.
If you want to read along with this podcast, and see actual before and after screenshots of the Avid timelines of certain scenes, go to the BorisFX blog:
borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Oscar-nominated editor Dody Dorn, ACE, about her work on David Ayer’s film, Heart of the Beast.
Dody’s been on Art of the Cut before for Power Rangers and Army of the Dead. Her other work includes Memento, for which she was nominated for an Oscar, Fury, and Insomnia, among many other film and TV shows.
Today’s discussion includes things like re-purposing the end of the movie to be the new beginning, the editing challenges of a dog co-star, and placing flashbacks for maximum emotional and story value.
If you want to read along with the podcast, you can check out the blog which also has images and featurettes and the trailer. It's on the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Oscar-nominated editor Christopher Tellefsen, ACE, about his work on The Whisper Man.
Chris has been on Art of the Cut before for The Menu, The Many Saints of Newark, A Quiet Place, and Assassin’s Creed. He has an Oscar nomination for Money Ball. He has ACE Eddie nominations for The Menu, Joy, Money Ball, Analyze This, and Man on the Moon. Chris was an assistant editor to legendary editor, Thelma Schoonmaker.
A discussion of how The Whisper Man was radically re-shaped to speed the story and establish its thriller tone, plus developing a rhythm of the story beats to strengthen emotional revelations, and much more.
If you want to, you can reac along with this interview and see the trailer and images from the film on BorisFX's blog site:
borisfx.com/blog/aotc.