Art of the Cut

Today on Art of the Cut e speak with Conor O’Neill and Oscar-winning editor Stephen Mirrione, ACE, about editing Alejandro Inarritu’s Digger.
Stephen’s been on Art of the Cut before for F1 and The Revenant, for which he was nominated for an Oscar award BAFTA and an ACE Eddie. He was nominated for another BAFTA  and an ACE Eddie for Birdman. He was nominated for an Oscar and a BAFTA and won an ACE Eddie for Babel.
He also WON the Oscar and was nominated for a BAFTA and an ACE Eddie for editing Traffic. 
Conor has edited numerous documentaries including Cobain: Montage of Heck, Capitalism: A Love Story, and Crossfire Hurricane for which he was nominated for an Emmy. He was additional editor on Moneyball and was an editor on the TV series Lioness. He also won the special jury prize at Sundance for the editing of Murderball
Today’s discussion includes the value of screening dailies with the director and other H.O.D.s, how Hamnet influenced Digger, and what NOT to say in a job interview.
If you want to read along with this podcast, and see actual before and after screenshots of the Avid timelines of certain scenes, go to the BorisFX blog:
borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Oscar-nominated editor Dody Dorn, ACE, about her work on David Ayer’s film, Heart of the Beast.
Dody’s been on Art of the Cut before for Power Rangers and Army of the Dead. Her other work includes Memento, for which she was nominated for an Oscar, Fury, and Insomnia, among many other film and TV shows.
Today’s discussion includes things like re-purposing the end of the movie to be the new beginning, the editing challenges of a dog co-star, and placing flashbacks for maximum emotional and story value.
If you want to read along with the podcast, you can check out the blog which also has images and featurettes and the trailer. It's on the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Oscar-nominated editor Christopher Tellefsen, ACE, about his work on The Whisper Man.
Chris has been on Art of the Cut before for The Menu, The Many Saints of Newark, A Quiet Place, and Assassin’s Creed. He has an Oscar nomination for Money Ball. He has ACE Eddie nominations for The Menu, Joy, Money Ball, Analyze This, and Man on the Moon. Chris was an assistant editor to legendary editor, Thelma Schoonmaker.
A discussion of how The Whisper Man was radically re-shaped to speed the story and establish its thriller tone, plus developing a rhythm of the story beats to strengthen emotional revelations, and much more.
If you want to, you can reac along with this interview and see the trailer and images from the film on BorisFX's blog site:
borisfx.com/blog/aotc.

Today on Art of the Cut, the Emmy-winning editors for Best Picture Editing for a Nonfiction Program: Sean Combs: The Reckoning, a four part doc-series from Netflix. Interviewed for the project were Charles Divak, ACE, Jeremy Siefer, ACE, Evan Wise, ACE, and Benjamin Kast, ACE. Unable to join in the call were editors Adam Goldstein, ACE, Jack Gravina, ACE, and Jonathan Miller. 
Charles Divak has been on Art of the Cut in the past for Chimp Crazy, for which he was nominated for an Emmy and won an ACE Eddie. His other work includes Full Frontal with Samantha Bee for which he was nominated for an Emmy, and The Circus: Inside the Greatest Political Show on Earth, for which he was nominated for an ACE Eddie.
Jeremy Siefer’s previous work includes HBO’s Storm Over Brooklyn, Netflix’s Blood Brothers: Malcolm X & Muhammad Ali, and Showtime’s Bronx Obama.
Evan Wise has been on Art of the Cut in the past for Chimp Crazy for which he was nominated for an Emmy and won an ACE Eddie. His other work includes Q: Into the Storm, for which he was nominated for an Emmy, and The Circus: Inside the Greatest Political Show on Earth for which he was nominated for an ACE Eddie.
Benjamin Kast is a previous ACE Eddie nominee for The Circus: Inside the Greatest Political Show on Earth. His other work includes the HBO docu-series, Monsters of God, and The Britney Griner Story.
Today’s discussion includes how the structure of the series evolved, the remote workflow, and the editorial strategies used to clarify a complex story.
If you'd like to read along with this podcast, check out the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut, the Emmy-winning editors for Best Picture Editing for a Limited Series: Kevin Ross, ACE and Max Koepke (KEP-key) and their HBO series, DTF St. Louis.
Kevin has been on Art of the Cut in the past for his work on Stranger Things for which he was an Emmy and ACE Eddie nominee. His other work includes Yellowjackets and Halt and Catch Fire, among others.
Max has also been on Art of the Cut before for his work on Winning Time: The Rise of the Lakers Dynasty and Chad Powers, among others.
Today’s discussion is of topics including manipulating the chronological story to improve the storytelling, working with a showrunner who is also the director and writers, and the value of editing a the same scene with two different intentions.
You can read along with this interview if you want and see images and the trailer from the series on the BorisFX.com blog site:
borisfx.com/blog/aotc