Art of the Cut

Today on Art of the Cut we speak with writer/director/editor, Brendan Bellomo of the Oscar-nominated documentary, Porcelain War. The film was nominated for an ASC Award for cinematography for its cinematographer, even though it was his first time using a camera. It won the DGA Award for Outstanding Directorial Achievement in Documentary. It won the PGA Award for Producing, won the Australian Screen Sound Guild Award and the HPA Award for Best Sound, and won the Sundance Grand Jury Prize award.

This discussion includes - among other things - determining the structure of the film based on emotion, why color grading needed to be part of the off-line edit, and how the editing pace was determined by the personality of the documentary’s subjects.

You can read along with this interview and see images including the timeline and clips and trailers on the BorisFX blog at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with director, writer, editor Sean Baker who was nominated for Oscars for Best Picture, Best Director, Best Screenplay, and Best Editing for his film, Anora. He was nominated for BAFTAs for Best Film, Best Editing, Best Casting, Best Screenplay and Best Director. He won AFI’s Movie of the Year, and was nominated for an ACE Eddie.

Sean’s other feature films include Red Rocket, Tangerine, and The Florida Project.

This discussion includes - among other things - why he chose to edit for himself, the importance of sound effects in a movie with no score, and Sean’s aversion to editing shot/reverse shot.

You can read along with this podcast and see trailers, clips and photos on the BorisFX blog site.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Dávid Jancsó, the editor of The Brutalist. 

David’s been busy! He also edited last year’s Monkey Man as well as films like Evolution and Pieces of a Woman as well as the TV series The Crowded Room and Treadstone.

This discussion includes - among other things - how editing is like Brutalist architecture, the purpose behind fracturing time, and the decisions on what to keep in a movie that runs three and a half hours.

You can read along with this interview and see clips and images at:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-winning editor - and now DIRECTOR - William Goldenberg, ACE about his directorial debut - the NUMBER ONE GLOBAL MOVIE on Amazon - Unstoppable. Of course, we also have William’s editor - no, he didn’t edit it himself - Brett Reed. Brett and William have been working together for more than 20 years.

William has been on Art of the Cut many times, including for The Instigators, Air, The Outfit, News of the World, 22 July, Detroit, and Live By Night. Billy won the Oscar for Best editing, a BAFTA and an ACE Eddie for Argo. He was nominated for an ACE Eddie for Air, an Oscar nomination and a BAFTA nom for The Imitation Game, nominated for an Oscar for Zero Dark Thirty, nominated for an Oscar and an ACE Eddie for Seabiscuit, and for The Insider… and an Emmy for Citizen X. 

Brett was also on The Instigators. He was an editor on M. Night Shyamalan’s Old. He was also an additional editor on Transformers: Rise of the Beasts, Detroit and Live by Night.

This discussion includes - among other things - the editing skills that helped William transition to director, why - other than their long working relationship - that William chose Brett as his editor, editing handheld footage - and a fascinating bit of Hollywood lore about Led Zeppelin and the movie Argo.

If you'd like to read along with this interview and see the complete clips that we discuss in the interview, please go to:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with editors Scott Morris and Oscar-winning editor Andrew Buckland, ACE about editing James Mangold’s A Complete Unknown.

Andrew’s been on Art of the Cut before for his work on The Girl on the Train, and for Ford v Ferrari for which he won an Oscar and a BAFTA and was nominated for an ACE Eddie. He also edited Indiana Jones and the Dial of Destiny.

Scott Morris has been on Art of the Cut previously to discuss The Creator and Ad Astra. In various capacities he was also worked on several other movies covered by Art of the Cut including Oppenheimer, Don’t Look up, and The Lost City of Z.

This discussion includes - among other things - the difficulties of editing folk music, compressing multiple scenes into a montage, and the sacrifices made cutting a three and a half hour editor’s cut down to size.

If you'd like to read along with this podcast and see trailers, clips and exclusive photos, check out the blog on:

borisfx.com/blog/aotc