Art of the Cut

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.

Today on Art of the Cut we speak with Stephen Rivkin, ACE, who was one of the editors on James Cameron’s Avatar: Fire and Ash. The other editors included Cameron himself, Nicholas de Toth, Jason Gaudio, and John Refoua. 
Steve’s been on Art of the Cut before when we discussed the previous Avatar film – The Way of Water. Steve also edited the first Avatar film, for which he was nominated along with John Refoua and James Cameron for an Oscar, a BAFTA, and an ACE Eddie Award. He won an Eddie for his work on Pirates of the Caribbean: The Curse of the Black Pearl. He was also nominated for ACE Eddies for Pirates of the Caribbean: Dead Man’s Chest, and Pirates of the Caribbean: At World’s End. Other films include Alita: Battle Angel, Ali, The Hurricane, Robin Hood: Men in Tights, and My Cousin Vinny. 
Today our discussion includes how the Avatar films use a unique two step process - first editing performance alone, then editing the final shots created with those performances, and on co-editing with the film’s director, James Cameron, ACE.
If you'd like to read along with this interview and see the trailer, video featurettes, clips and images from the film, visit the BorisFX.com website for the Art of the Cut blog.
borisfx.com/blog/aotc