Art of the Cut

Today on Art of the Cut we speak with four of the editors on the buzzy new Amazon Prime series, Young Sherlock. With us are Cheryl Potter, Calum Ross, Phil Hookway, and Tim Murrell.
Cheryl’s been on Art of the Cut before, starting back when she was an additional editor for Pietro Scalia, ACE, on Ridley Scott’s The Martian. We’ve also talked to her about the TV series, Snowpiercer. Her other credits include The Lord of the Rings: Rings of Power.
Tim Murrell has edited features like Monkey Man and 21 Bridges, and TV series like The Terror and Patrick Melrose.
Philip Hookway has edited TV series, Deep State, Being Human, and Torchwood.
Calum Ross has edited TV series including Loki, The Devil’s Hour, Sex Education, and Not Another Happy Ending. 
Today we’re discussing the importance of in-person collaboration for the edit team, the power of adjusting the tonal dial “just so,” and the benefit of re-thinking how the show begins.
You can read along with this interview and see images of the editing crew, the trailer and even a timeline screenshot at the BorisFX blogsite:
borisfx.com/blog/aotc

Today on Art of the Cut we speak with Nathan Schauf about his ACE and Annie-winning editing of the Oscar-winning Sony Pictures Best Animated film, KPOP Demon Hunters currently available on Netflix.
Nathan’s other work includes Overwatch: Origin Stories, World of Warcraft: Harbingers, and additional editing on Penguins of Madagascar, among many other projects.
Today’s discussion includes how the movie itself rejects ideas that don’t work for it, how animation sometimes has intercutting that isn’t scripted, and finding the right spots to take the foot off the gas pedal for JUST a moment.
If you'd like to read along with this podcast and see the trailer, clips, the timeline screenshot and more, check out the BorisFX blog at:
borisfx.com/blog/aotc

Today on Art of the Cut we speak with Axel Geddes, ACE about the latest Pixar film, Hoppers.
Axel and I talked previously about Toy Story 4 for which he won an ACE Eddie. He also has Annie nominations for Best Editing for Toy Story 4, Toy Story of Terror, and Lightyear. His other credits include Finding Dory, and second editor or additional second editor work on Lightyear, Turning Red, Toy Story 3, and WALL-E.
Today’s discussion includes how a character’s POV affects the film’s  score, the editor’s role in sculpting the performance of a single shot, and how being a musician can help an editor in ways you may not have considered - maybe it’s time to take up the ukulele…
If you'd like to see some really cool exclusive images, like LOTS of timelines, PIXAR storyboards, and photos of the editing crew, visit our blog!
borisfx.com/blog/aotc

Today on Art of the Cut we speak with Yvette M. Amirian, ACE, who just won the ACE Eddie Award for Best Edited Feature Film (non-theatrical) with her work on A Winter’s Song.
Yvette (and her editorial team) received an ACE Eddie nomination for Best Edited Reality Series for Whale Wars. She was also an editor on John Singleton's L.A. Burning: The Riots 25 Years Later, which was nominated for an Emmy for Outstanding Documentary Special. She also edited the film The Integrity of Joseph Chambers and the reality TV series, Dating Around, among many other projects.
Today’s discussion includes Yvette’s approach to montages, the value of intercutting scenes, and using transition shots for maximum effect.
If you'd like to read along with this interview and see photos and the trailer and a timeline screenshot of the film, please visit the BorisFX website for the Art of the Cut blog:
borisfx.com/blog/aotc

Today on Art of the Cut we speak with director/editor Josh Safdie and his co-editor co-producer and co-writer, Ronald Bronstein. Safdie and Bronstein are nominated this year for Oscars for Best Picture, Best Screenplay, and Best Editing for Marty Supreme. Safdie has an additional nomination for the film for Best Achievement in Directing.
The pair has worked together for almost two decades on such films as Uncut Gems, Good Time, Heaven Knows What, and Daddy Longlegs.
Our discussion today includes the importance of editing the film linearly – not looking at dailies until after the shoot - and being in love with their flawed main character.
If you'd like to read along with this interview and see the trailer, clips and stills from the film, visit the BorisFX.com website and check out the Art of the Cut blog:
borisfx.com/blog/aotc.