Art of the Cut

Today on Art of the Cut, the Emmy-winning editors for Best Picture Editing for a Limited Series: Kevin Ross, ACE and Max Koepke (KEP-key) and their HBO series, DTF St. Louis. Kevin has been on Art of the Cut in the past for his work on Stranger Things for which he was an Emmy and ACE Eddie nominee. His other work includes Yellowjackets and Halt and Catch Fire, among others. Max has also been on Art of the Cut before for his work on Winning Time: The Rise of the Lakers Dynasty and Chad Powers, among others. Today’s discussion is of topics including manipulating the chronological story to improve the storytelling, working with a showrunner who is also the director and writers, and the value of editing a the same scene with two different intentions. You can read along with this interview if you want and see images and the trailer from the series on the BorisFX.com blog site: borisfx.com/blog/aotc

Today on Art of the Cut, Carsten KoorPANek discusses the editing of a film that is very unusual: Coyote versus Acme. Firstly, it’s a combination of live action and animation, and second, the studio decided not to release it after it was already completed. Only years later did another company swoop in and buy the distribution rights and decide to release the film that had been languishing in a vault for almost three years. Kurpanek has edited numerous films, including Rambo: Last Blood, Escape Plan 2: Hades, and an episode of the TV series Eastsiders. He also was a previs editor on Teenage Mutant Ninja Turtles: Out of the Shadows. Today’s discussion includes topics like the benefits of “prevising” an entire movie, the iterative process that shapes a film, and the scene that was scripted for the middle of the film but ended up as the inciting incident. You can read along with this podcast and see images from Carsten's edit suite and post production process as well as the trailer and a clip from the film on the borisfx blog site: borisfx.com/blog/aotc

Today on Art of the Cut, editor Sam Restivo, talks about editing Ridley Scott’s “The Dog Stars” with co-editor, Oscar-winner, Claire Simpson. Sam has been on Art of the Cut before for Gladiator 2 and Napoleon. He was also an additional editor on House of Gucci, The Last Duel, and The Greatest Showman. Today’s discussion includes topics like the importance of setting up the movie with its meditative open, the careful use of aerial footage, and knowing when to let a powerful performance dictate the decision NOT to cut. If you want to read along with this interview, a full transcript is available at the BorisFX blog site. borisfx.com/blog/aotc

Today on Art of the Cut, editor John Axelrad, ACE, and additional editor, Taylor Bynum, discuss editing the summer blockbuster, The End of Oak Street. John has been on Art of the Cut for a full decade with Lost City of Z, Antebellum, Ad Astra, and Chevalier. He also edited Spaceman and Papillon, among many others with editing credits going back almost 25 years. Taylor was a first assistant promoted to additional editor on this film. He’s had various jobs on the post teams of Mickey 17, Spaceman, Ant-Man and the Wasp: Quantumania, and many others. Today’s discussion includes topics like how intercutting affects a film's rhythm, a classic cutting-room prank, and how a codebook can free the creative process. If you'd like to read along with this podcast, and see the trailer, a timeline and exclusive stills, check out the BorisFX blog site at borisfx.com/blog/aotc

Today on Art of the Cut, the editors of Spider-Man Brand New Day: Nat Sanders, ACE, Harry Yoon, ACE, and Gina Sansom. Nat has been on Art of the Cut before Just Mercy, and for Shang-Chi and the Legend of the Ten Rings, He was nominated for an Oscar and an ACE Eddie for editing Moonlight. He’s also edited If Beale Street Could Talk and Short Term 12, among others. Harry has been on Art of the Cut before for Detroit, Beef, The Best of Enemies, The Fire Inside, Minari, Shang-Chi and the Legend of the Ten Rings, and Thunderbolts. Harry has an ACE Eddie win for Beef, and an ACE Eddie nomination for Minari. Gina is an Emmy nominee for the TV series Horace and Peter. Her other editing work includes Wonder Man, The Lowdown, and Our Flag Means Death, among others. Today’s discussion is about how they collaborated to compress the opening montage, the value of audience screenings, and their workflow - starting with previs, through postvis and final vendor VFX. You can read along with this podcast and see the trailer, clips and exclusive images at the BorisFX blog: borisfx.com/blog/aotc