Art of the Cut

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

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'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

Today on Art of the Cut, we have the lead editor and the VFX editor of the documentary series, The Dinosaurs, from Netflix and Amblin’ Entertainment.
Ben Lavington Martin, BFE was the lead editor on the series and cut the first episode. His other work includes The World According to Jeff Goldblum, David Attenborough's Natural History Museum Alive, One Strange Rock, and Nova, among many others.
Matt Howorth was the visual effects editor. His other credits include shorts: Rodents and Bull Shark Bandits.
Our discussion today is about walking the line between animation editing and natural history documentary storytelling… and calibrating science, entertainment, and emotion over eons of evolution.
If youre interested in reading along with this interview and seeing the trailer and clips and images from the docu-series, check out BorisFX's blog site:
borisfx.com/blog/aotc

Today on Art of the Cut we discuss the documentary, The AI Doc: Or How I Became an Apocaloptimist with the editors of the film, Daysha Broadway, ACE, and Davis Coombe. The film was produced and directed by some of the same team that created the film Everything, Everywhere, All at Once.
Daysha’s been on Art of the Cut before for The Black Lady Sketch Show, for which she won an Emmy and was nominated for an ACE Eddie Award. She was also nominated for Emmys for Born This Way, and a Peabody Award for Surviving R. Kelly.
Davis is known for editing Casting JonBenet, The Social Dilemma for which he is an Emmy winner, Saving Face for which he won another Emmy, and Chasing Coral.
Our discussion today is about the structure of the film, creatively re-purposing animation, and when not to cut on-camera interviews.
If you want to read along with this podcast and see images from the movie, clips, the trailer and even the Adobe Premiere timeline, visit the BorisFX.com blog site at:
borisfx.com/blog/aotc

Today on Art of the Cut we speak with Joshua Raymond Lee, the co-editor of The Drama, and his first assistant editor, Devon Halliday.
Joshua is an Emmy and ACE Eddie-nominee for editing the limited TV series, Ripley. He also edited, We Own This City and Monsterland, among others.
Devon worked with Josh on Ripley and We Built this City. She also was an assistant editor on the TV series: And Just Like That and Blue Bloods.
Our discussion today is about co-editing with the director, editing the movie linearly – from start to finish, and editing in Adobe Premiere using Productions.
You can read along with this podcast on the BorisFX blog site and also see the trailer, clips from the film, exclusive photos from post, and the Adobe Premiere timeline, among other goodies. Visit:
borisfx.com/blog/aotc