<description>&lt;p&gt;Today on Art of the Cut, we speak with editor Sarah Broshar, ACE, on editing Steven Spielberg’s &lt;em&gt;Disclosure Day&lt;/em&gt;.&lt;/p&gt;&lt;p&gt;Sarah has been on Art of the Cut several times, last for her editing of &lt;em&gt;The Fablemans&lt;/em&gt;. She was nominated for an ACE Eddie for Spielberg’s &lt;em&gt;The Post&lt;/em&gt;. Her credits also include &lt;em&gt;Ready Player One, Pet Sematary&lt;/em&gt;, and &lt;em&gt;West Side Story&lt;/em&gt;.&lt;/p&gt;&lt;p&gt;This discussion will be about the rule when temping score that will be replaced by the legendary John Williams, how the length of the first assembly is a secret even to Spielberg himself, and Sarah’s keys to building suspense and enhancing emotion.&lt;/p&gt;&lt;p&gt;If you want to read along this podcast and see images from the film, the trailer, and images on the post crew, check out the BorisFX blog site&lt;/p&gt;&lt;p&gt;borisfx.com/blog/aotc&lt;/p&gt;
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Today on Art of the Cut, we speak with editor Sarah Broshar, ACE, on editing Steven Spielberg’s Disclosure Day.Sarah has been on Art of the Cut several times, last for her editing of The Fablemans. She was nominated for an ACE Eddie for Spielberg’s The Post. Her credits also include Ready Player One, Pet Sematary, and West Side Story.This discussion will be about the rule when temping score that will be replaced by the legendary John Williams, how the length of the first assembly is a secret even to Spielberg himself, and Sarah’s keys to building suspense and enhancing emotion.If you want to read along this podcast and see images from the film, the trailer, and images on the post crew, check out the BorisFX blog siteborisfx.com/blog/aotc

Art of the Cut

Disclosure Day

Disclosure Day

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