<description>&lt;p&gt;Today on Art of the Cut, we speak with Tamara Meem, editor of &lt;em&gt;Remarkably Bright Creatures&lt;/em&gt;, now on Netflix.&lt;/p&gt;&lt;p&gt;In addition to Tamara’s work on &lt;em&gt;Remarkably Bright Creatures&lt;/em&gt;, she also edited &lt;em&gt;Wander Darkly, First Match, The Sound of My Voice&lt;/em&gt;, and the TV series, &lt;em&gt;The Decameron&lt;/em&gt;, and &lt;em&gt;The Last Thing He Told Me&lt;/em&gt;. Tamara lives in Los Angeles, but is from Australia.&lt;/p&gt;&lt;p&gt;Our discussion today is about how story is structure, the ability of montage to mine the gold of deleted scenes, and the power of holding on a great performance.&lt;/p&gt;&lt;p&gt;If you want to read along with this podcast and see images from the film, and post, like the timeline screenshot, go to the BorisFX.com 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 Tamara Meem, editor of Remarkably Bright Creatures, now on Netflix.In addition to Tamara’s work on Remarkably Bright Creatures, she also edited Wander Darkly, First Match, The Sound of My Voice, and the TV series, The Decameron, and The Last Thing He Told Me. Tamara lives in Los Angeles, but is from Australia.Our discussion today is about how story is structure, the ability of montage to mine the gold of deleted scenes, and the power of holding on a great performance.If you want to read along with this podcast and see images from the film, and post, like the timeline screenshot, go to the BorisFX.com blog site.Borisfx.com/blog/aotc

Art of the Cut

Remarkably Bright Creatures

Remarkably Bright Creatures

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