<description>&lt;p&gt;Today on Art of the Cut we speak with Andrew Marcus, the editor of &lt;em&gt;The Devil Wears Prada 2.&lt;/em&gt;&lt;/p&gt;&lt;p&gt;Andrew has edited &lt;em&gt;Howard’s End&lt;/em&gt;, for which he was nominated for a BAFTA, &lt;em&gt;Much Ado About Nothing, the 1994 Frankenstein movie, Hedwig and the Angry Inch, Remains of the Day, American Psycho, &lt;/em&gt;and &lt;em&gt;Under the Tuscan Sun&lt;/em&gt;, among many others.&lt;/p&gt;&lt;p&gt;Our discussion today is about the freedom he has in the editor’s cut, the importance of calibrating the amount of set-up of a joke, and building montages that were not in the script.&lt;/p&gt;&lt;p&gt;If you&amp;#39;d like to read along with this inteview and see images from the film, the trailer and clips, visit 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 Andrew Marcus, the editor of The Devil Wears Prada 2.Andrew has edited Howard’s End, for which he was nominated for a BAFTA, Much Ado About Nothing, the 1994 Frankenstein movie, Hedwig and the Angry Inch, Remains of the Day, American Psycho, and Under the Tuscan Sun, among many others.Our discussion today is about the freedom he has in the editor’s cut, the importance of calibrating the amount of set-up of a joke, and building montages that were not in the script.If you&#39;d like to read along with this inteview and see images from the film, the trailer and clips, visit the BorisFX blog site.borisfx.com/blog/aotc

Art of the Cut

The Devil Wears Prada 2

The Devil Wears Prada 2

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