Editors - Diana Fishman, Adam Lichtenstein and Mary DeChambres ACE The JURY DUTY editing team had plenty of experience cutting unscripted tv before taking on the hit Freevee series.  But is it actually an unscripted show?  To hear their fellow JURY DUTY editor Steven Rosenthal tell it, they were "using the techniques of a reality show for the purposes of a sitcom".  The end result is a series unlike any in either the unscripted or scripted comedy genres. JURY DUTY is a reality/sitcom tv series that chronicles the inner workings of a U.S. jury trial through the eyes of juror Ronald Gladden, a solar contractor from San Diego.  Ronald is unaware that his jury duty summons was not official.  Everything that happened, inside and outside the courtroom, was planned.  And everyone in the courtroom, aside from him, was an actor.  The series was produced by; Ruben Fleischer, Nick Hatton, Cody Heller, Gene Stupnitsky, Todd Schulman, Lee Eisenberg, David Bernad and Andrew Weinberg.  Jake Szymanski also produced and directed. Diana Fishman Editor Diana Fishman is known for her work on the shows; GRACE AND FRANKIE (2015), THE UCB SHOW (2016-17) and SOUTH SIDE (2019-21). Adam Lichtenstein Born with a natural love for time code, Adam showed an early preference for non-drop frame, then rose through the editorial ranks pretending to enjoy sports, overusing terms like "shots on goal", "swish", "in your face" and "that's what I'm talking about" without the slightest idea what he was talking about.  He recently completed work on the documentary, FILM GEEK (2023) directed by Richard Shepard. Mary DeChambres, ACE In addition to her work crafting the finale of JURY DUTY, Emmy®-winning editor Mary DeChambres is known for cutting unscripted hits such as; PROJECT RUNWAY (2008), AMERICAN NINJA WARRIOR (2013-23) and THE REAL WORLD (2002-03). Editing JURY DUTY In our discussion with the JURY DUTY editing team, we talk about: Using reality tv techniques for a sitcom Managing billions and billions of hours of footage Never making fun of the hero One assistant, no waiting Breaking down the big reveal The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Colby Parker Jr., ACE GRAN TURISMO editor Colby Parker Jr ACE has largely built his feature-film editing career on high-adrenaline action films, most notably for his work with director Peter Berg; including FRIDAY NIGHT LIGHTS (2004), PATRIOTS DAY (2016), DEEPWATER HORIZON (2016) and MILE 22 (2018).  Colby even took a turn in the MCU, cutting ANT-MAN (2015) alongside Dan Lebental ACE.  Bypassing the usual assistant editor route, Parker began his professional journey cutting music videos, which he credits with helping to build his editorial chops for the action genre. The true story of a team of unlikely underdogs -- a working-class gamer, a former race-car driver, and an idealistic motorsport executive, GRAN TURISMO is directed by Neill Blomkamp from a screenplay by Jason Hall and Zach Baylin. Produced by Columbia Pictures, PlayStation Productions, and 2.0 Entertainment, it is based on the racing simulation video game series of the same name and tells the true story of Jann Mardenborough, a teenage Gran Turismo player who became a professional race car driver.  Editing Gran Turismo In our discussion with GRAN TURISMO editor Colby Parker Jr. ACE, we talk about: Going from Berg to Blomkamp Starting with score, but skipping SICARIO Gamer Vision The sight and sound duties of assistant editors Fighting back against the director The Credits Visit ExtremeMusic for all your production audio needs Learn all about Avid's Media Composer for Students program Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Justin Bourret ACE, Todd Zelin, Dave Canseco and Joseph Ettinger If THE RIGHTEOUS GEMSTONES editors ever tire of working in postproduction, perhaps they can get a job at Cinnabon, because their cutting rooms have the unique distinction of being located in a mall.  But considering how much fun the quartet has working on the show and with one another, that career change might just have to wait awhile.  For now, audiences can enjoy three seasons of their hilarious work on MAX. THE RIGHTEOUS GEMSTONES are living proof that worship pays dividends in all sizes. Patriarch Eli (John Goodman), the man most responsible for the tremendous success of the family's megachurch, is in mourning over the loss of his wife. Jesse (Danny McBride), the eldest of the three grown Gemstone siblings, looks to lead in his father's footsteps, but finds his past sins jeopardizing the family ministry. Next in line comes middle sister Judy (Edi Patterson), who secretly lives with her fiancé and dreams of escaping the Gemstone compound. Rounding out the dysfunctional trio is pseudo-hipster Kelvin (Adam DeVine), the youngest of the preachers and a thorn in Jesse's side. As the family battles numerous threats to their renowned religious empire, they continue to spread the good word... and make a solid buck doing so. JUSTIN BOURRET, ACE In addition to his editorial duties, Justin also serves as co-producer on THE RIGHTEOUS GEMSTONES. He is also known for his work on FOR ALL MANKIND (2019) and VICE PRINCIPALS (2016). TODD ZELIN New Jersey native Todd is an editor and producer, known for FRESH OFF THE BOAT (2015) and ARRESTED DEVELOPMENT (2003). DAVE CANSECO David Canseco began his journey with THE RIGHTEOUS GEMSTONES in Season 1 as an assistant editor, before working his way up to editor on Season 3.  He has also worked on THE GOLDBERGS (2013) and POOLMAN (2023). JOSEPH ETTINGER New to the Gemstones team in Season 3, Joseph is also known for ROAR (2022) and DEAD TO ME (2019). Editing THE RIGHTEOUS GEMSTONES In our discussion with the "GEMSTONES" editing team, we talk about: Setting up shop in Sears Walking the tonal tightrope Going to editing summer camp Mining the gems from all that footage Fun with full frontal nudity The Credits Visit Extreme Music for all your production audio needs Go get an Avid Media Composer of your very own Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Kelley Dixon, ACE and Josh Earl, ACE The OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE have long been friends outside of the cutting room, but "Obi-Wan" is the first project they've shared.  5x Emmy-winning editor, Josh Earl didn't have to think twice about Kelley Dixon's offer to join the Lucasfilm series, ostensibly as her assistant even though he's worked for years as an editor.  Being a self-professed "Star Wars Nerd", Josh jumped at the chance no matter what his role would be.  As for Kelley, her plan was always to have Josh's creative editorial talents shine through during post; culminating in him sharing editing credit with her on the series finale and earning both another Emmy nomination. OBI-WAN KENOBI takes place ten years after the events of STAR WARS: EPISODE III - REVENGE OF THE SITH (2005)—in which the Jedi were purged with Order 66 and Obi-Wan Kenobi's apprentice, Anakin Skywalker, became the Sith Lord Darth Vader—Kenobi is in hiding on the planet Tatooine, watching over Anakin's son, Luke, when he is called on a mission to rescue Anakin's daughter, Leia, after she is kidnapped by the Galactic Empire's Jedi-hunting Inquisitors in a plot to draw Kenobi out.  This leads to yet another dramatic duel between Kenobi and Vader. KELLEY DIXON, ACE In addition to her Emmy®-nominated work on OBI-WAN KENOBI, Kelley won an Emmy, plus three additional nominations, for her work on BREAKING BAD (2008-13), and would go on to rack up five more nominations for her subsequent work on the BREAKING BAD spinoff, BETTER CALL SAUL (2015-17).  In recent years, Kelley has expanded her resume to include feature films such as THE GOLDFINCH (2019) and BLACK PANTHER: WAKANDA FOREVER (2022). JOSH EARL, ACE Josh earned his Star Wars "cred" long before his turn on OBI-WAN KENOBI, having cut MARK HAMILL'S POP CULTURE QUEST (2016-17).  But it was his work on the long-running reality hit DEADLIEST CATCH (2006-2019) that put five Emmy's on Josh's trophy shelf, right next to his Star Wars action figures.  Among his many other credits, Josh has cut shows like AROUND THE WORLD IN 80 WAYS (2011) and documentaries such as SKI BUM: THE WARREN MILLER STORY (2019). Editing OBI-WAN KENOBI In our discussion with the OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE, we talk about: Bringing something from Breaking Bad to Tatooine Making the jump from editor to assistant editor? Being on location in "The Volume" Synthesizing new sounds for the Sith Lord Intercutting with lightsabers The Credits Visit ExtremeMusic for all your production audio needs Subscribe to a low-cost monthly or annual subscription of Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Laura Zempel and Nat Fuller The Emmy®-nominated BEEF editing team of Laura Zempel and Nat Fuller came into this project with plenty of experience crafting storylines featuring complicated characters and situations.  Nat kicked off his career with another well-known Netflix property, STRANGER THINGS, starting as an assistant before transitioning to full editorial duties on the Duffer Brothers supernatural juggernaut.  For Laura, her time in the editing suites of complex dramas began with assisting on DEXTER, to ultimately cutting on HBO's critically-acclaimed EUPHORIA. Created by Korean director Lee Sung Jin (Sunny) for Netflix, BEEF stars Steven Yeun and Ali Wong as Danny Cho and Amy Lau, two strangers whose involvement in a road rage incident escalates into a prolonged feud. LAURA ZEMPEL In addition to her Emmy®-nominated work on BEEF, Laura's skills as an editor can be seen in EUPHORIA (2019-22), DISPATCHES FROM ELSEWHERE (2020) and ROOM 104 (2017-19).  Prior to that, she assisted on HOUSE OF CARDS (2014), DEXTER (2011-13) and IF I CAN DREAM (2010). NAT FULLER Nat's journey to being an Emmy®-nominated editor began with assisting duties on the features MALEFICENT (2014) and THE LAST WITCH HUNTER (2015), in addition to the debut season of STRANGER THINGS (2017).  Fuller would go on to co-edit the indie THE PEANUT BUTTER FALCON (2019) amidst taking on lead editing duties for Seasons 2-4 for STRANGER THINGS (2017-22). Editing BEEF In our discussion with the BEEF editing team of Laura Zempel and Nat Fuller, we talk about: Filling two gigs with one agent Nailing the ninety's needle drops Not taking sides in the edit Sound designing drug trips Taming the tension in postproduction The Credits Visit ExtremeMusic for all your production audio needs Subscribe to a low-cost monthly or annual subscription of Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Jennifer Lame ACE, Additional Editor - Mike Fay, 1st Assistant Editor - Nick Ellsberg and 1st Assistant Film Editor - Tom Foligno The OPPENHEIMER editing team of Jennifer Lame ACE, Mike Fay, Nick Ellsberg and Tom Foligno applied their collective storytelling talents to film technology both old and new.  While Jennifer and Mike worked to shape and refine Christopher Nolan's story into an instant classic, Nick and Tom were tasked with mastering a hybrid film and digital workflow to make the most of Nolan's brilliant 70MM IMAX footage. Based on the 2005 biography American Prometheus by Kai Bird and Martin J. Sherwin, the film chronicles the life of American theoretical physicist and polymath J. Robert Oppenheimer. The story predominantly focuses on Oppenheimer's early studies, his direction of the Manhattan Project during World War II, and his eventual fall from grace due to his 1954 security hearing; juxtaposed with this are events surrounding Oppenheimer's relationship with Lewis Strauss, a senior member of the United States Atomic Energy Commission who sees Oppenheimer as a rival. It stars Cillian Murphy as Oppenheimer and Robert Downey Jr. as Strauss, with the remaining ensemble supporting cast including Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek and Kenneth Branagh. JENNIFER LAME, ACE While Jen claims that her "wheelhouse" in editorial is films that feature people talking in rooms, as her work on MANCHESTER BY THE SEA (2016) and MARRIAGE STORY (2019) both prove, you wouldn't know it by her standout work in bigger features like Christopher Nolan's TENET (2020) and BLACK PANTHER: WAKANDA FOREVER (2022). MIKE FAY As Jen Lame was wrapping up things on WAKANDA FOREVER, she entrusted the early assembly duties on OPPENHEIMER to Mike Fay.  Prior to OPPENHEIMER, Mike had been sharpening his skills as an assistant editor on LIFE OF PI (2012) and GHOSTBUSTERS: AFTERLIFE (2021) and as a VFX Editor on JOHN WICK: CHAPTER 3 - PARABELLUM (2019) and BULLET TRAIN (2022). NICK ELLSBERG Nick and Mike Fay had more than a passing familiarity prior to OPPENHEIMER.  Like Mike, Nick worked on BULLET TRAIN (2022), GHOSTBUSTERS: AFTERLIFE (2021), and JOHN WICK: CHAPTER 3 - PARABELLUM as an assistant editor. TOM FOLIGNO A veteran of the Marty Scorsese film school, having worked as an assistant on CASINO (1995), BRINGING OUT THE DEAD (1999), GANGS OF NEW YORK (2002) and THE AVIATOR (2004), Tom was able to return to his film editing roots and dust off his splicer for his role in the film cutting room on OPPENHEIMER. Editing OPPENHEIMER In our talk with the OPPENHEIMER editing team, we discuss... The beauty of awkward people talking in rooms Keeping up the pace on a three-hour biopic Whistling past the biggest scene in the movie because you already know it will be great Bringing film workflows back to life, bigger than ever Loving Chris Nolan's "all business' approach in the cutting room The Credits Visit Extreme Music for all your production audio needs Check out the latest with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Nick Houy ACE, VFX Editor - Matt Garner and Apprentice Editor - Maya Rivera The BARBIE editing team of Nick Houy ACE, Matt Garner and Maya Rivera seemed to have as much fun in the cutting room as what audiences saw on the big screen.  Despite this being the first time the three worked together, they described the process of working on BARBIE to be an open, collaborative "family" atmosphere where both personal time and creative contributions were valued. Stereotypical "Barbie" (Margot Robbie) and a wide range of fellow Barbies all reside in Barbieland, a matriarchal society where all women are self-confident, self-sufficient, and successful. While their Ken counterparts spend their days engaging in recreational activities at the beach, the Barbies hold important positions as doctors, lawyers, and politicians.  Beach "Ken" (Ryan Gosling) is only happy when he is with Barbie and seeks a closer relationship, but Barbie rebuffs him in favor of independence and female friendships.  Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbieland.  However, when they get a chance to go to the "real" world, they soon discover the joys and perils of living among humans. NICK HOUY, ACE NYC-based Nick Houy is now on his third film with actor/writer/director Greta Gerwig.  The two previously teamed up for LADY BIRD (2017) and LITTLE WOMEN (2019).  In addition to his work with Gerwig, Nick has also cut for actor/director Jonah Hill on MID90'S (2018) and STUTZ (2022).  In 2017, Nick won an Emmy co-editing the first episode of the mini-series THE NIGHT OF alongside editor Jay Cassidy. MATT GARNER Coming into his work on BARBIE, Matt brought with him the enviable experience of having worked on three films for director Martin Scorsese; HUGO (2011), THE WOLF OF WALL STREET (2013) and THE IRISHMAN (2019). MAYA RIVERA Apprentice editor Maya Rivera's editorial career had hardly begun and yet she was a valued contributor to the biggest film of 2023.  Much of that can be attributed to her initiative in walking up to editor Nick Houy at a screening for LITTLE WOMEN and saying, "I want to work with you"! Editing BARBIE In our talk with the BARBIE editing team, we discuss... First reactions to a film nobody thought could happen Building a better Barbieland Barbie vs The Irishman Whose baby is this? Making things up (music?  entire scenes?) as you go along The Credits Visit Extreme Music for all your production audio needs Check out the latest with Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Richie Edelson and Sarah Zeitlin The ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin walked similar but separate paths in the early stages of their careers.  Each cut their editorial teeth in the world of unscripted and both took a turn at the same mockumentary sitcom format that they would employ in the show that finally united them as co-editors. Abbott Elementary is a mockumentary sitcom created by Quinta Brunson for ABC. It stars Brunson as Janine Teagues, an optimistic second-grade teacher at the poorly funded Willard R. Abbott Elementary School; a predominantly Black Philadelphia public school where a documentary crew is recording the lives of teachers working in underfunded, mismanaged schools.  Although conditions at the school are harsh and most teachers don't last more than two years, Teagues is determined to help her students despite the circumstances. RICHIE EDELSON Richie's early career path found him in the cutting rooms of popular unscripted series such as PROJECT RUNWAY (2008), REAL CHANCE OF LOVE (2008-09) and ROB DYRDEK'S FANTASY FACTORY (2009).  Soon after he would get to flex his comedy chops on sitcoms like PARKS AND RECREATION (2012-13), BLACK-ISH (2014-17) and SUPERSTORE (2017-21).  It would be Edelson at the helm of the Avid when it came time to develop the pilot for the soon-to-be hit series, ABBOTT ELEMENTARY (2021-23). SARAH ZEITLIN Like Richie, Sarah has also logged a few miles on the road of reality television; assisting on HELL'S KITCHEN (2008), plus assisting and editing on THE MILLIONAIRE MATCHMAKER (2008-11).  But it would be assisting on the mockumentary hits MODERN FAMILY (2009-10) and PARKS AND RECREATION (2012) that would be a sign of things to come for her role as editor on ABBOTT ELEMENTARY (2022-23).  Sarah's work as an editor can also be seen in dramas like HOMELAND (2017-20) and MAYOR OF KINGSTOWN (2021). Editing Abbott Elementary In our discussion with the ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin, we talk about: The hidden benefits of commercial breaks The anatomy of a mockumentary sitcom The truth of building a character through comedy The sound of silence or just a bad speaker? Lovely parting gifts The Credits Visit ExtremeMusic for all your production audio needs Learn all about the Media Composer for Students program Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Eddie Hamilton ACE MISSION: IMPOSSIBLE - DEAD RECKONING PART 1 editor Eddie Hamilton ACE has been immersed in the TCEU (Tom Cruise Extended Universe) since 2015 when Eddie took the editorial helm of MISSION IMPOSSIBLE: ROGUE NATION.  And with the exception of a quick return to his roots with director Matthew Vaughn for KINGSMAN: THE GOLDEN CIRCLE (2017), Eddie has spent all his subsequent time working on MISSION: IMPOSSIBLE - FALLOUT (2018), TOP GUN: MAVERICK (2022) and the upcoming MISSION: IMPOSSIBLE - DEAD RECKONING PARTS 2 (2024).  Both within, and beyond, these three franchises, Eddie has clearly set himself apart as one of the top action-movie editors working today. In this latest installment of the now 7-film long action franchise, Ethan Hunt and the IMF team must track down a terrifying new weapon that threatens all of humanity if it falls into the wrong hands. With control of the future and the fate of the world at stake, a deadly race around the globe begins. Confronted by a mysterious, all-powerful enemy, Ethan is forced to consider that nothing can matter more than the mission -- not even the lives of those he cares about most. Editing Mission: Impossible - Dead Reckoning Part 1 In our discussion with editor Eddie Hamilton ACE, we talk about: Cutting two films at one time Action first, dialogue last "Have 160TB hard drive, will travel" The verbal choreography of an exposition scene Edgar Wright's keen ear for storytelling The Credits Visit ExtremeMusic for all your production audio needs Hear Eddie talk about his work on Mission: Impossible - Fallout Take a guided tour with Eddie on his Avid timeline from Mission: Impossible - Fallout Listen to Eddie's podcast on TOP GUN: MAVERICK Check out Eddie Hamilton's Timeline Tour for TOP GUN: MAVERICK See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Nena Erb, ACE JOY RIDE wasn't the film Emmy-winning editor Nena Erb ACE was looking for when she asked her agent to see what was out there, but Nena WAS the editor that JOY RIDE was looking for.  Fortunately, they found each other, because together they created a film that broke boundaries, not to mention the mold, when it comes to how Asian women are portrayed in comedy features.  After building a career in TV on reality shows like REAL HOUSEWIVES OF ORANGE COUNTY and DANCING WITH THE STARS, as well as comedy hits like CRAZY EX-GIRLFRIEND and INSECURE, Nena wanted a drama for her first big feature project, and within the brash bawdiness of JOY RIDE, Nena found the drama she was seeking. JOY RIDE stars Ashley Park as upwardly mobile career woman, Audrey Sullivan.  When Audrey's business trip to Asia goes sideways, she enlists the help of Lolo (Sherry Cola), her childhood best friend, Kat (Stephanie Hsu), a college friend, and Deadeye (Sabrina Wu), Lolo's eccentric cousin. Their epic, no-holds-barred experience becomes a journey of bonding, friendship, belonging and wild debauchery that reveals the universal truth of what it means to know and love who you are. Editing Joy Ride In our discussion with JOY RIDE editor Nena Erb ACE, we talk about: Finding what you're looking for in the place you weren't looking Dialing up the "dirty" all the way to the drama The post process for first-time directors The subtle art of sub-titles in comedy Sound design for assistants The Credits Visit ExtremeMusic for all your production audio needs Check out what's new with Avid Media Composer Hear Nena discuss her Emmy-winning work on INSECURE Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Editors - Mike McCusker ACE, Andrew Buckland ACE and Dirk Westervelt ACE The INDIANA JONES AND THE DIAL OF DESTINY editing team of McCusker, Buckland and Westervelt have been amping up the action in the cutting room for a while now.  First joining up for James Mangold's LOGAN (2017); the team would collaborate once more on Mangold's FORD V FERRARI (2019) before finding themselves at the editorial helm of the fifth, and most likely final, installment of the Indiana Jones franchise. INDANA JONES AND THE DIAL OF DESTINY sees daredevil archaeologist Indiana Jones race against time to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, he soon finds himself squaring off against Jürgen Voller, a former Nazi who works for NASA. MIKE McCUSKER, ACE Aside from his Oscar®-winning turn in Mangold's FORD v FERRARI (2019), Mike McCusker is known for a wide variety of films including; WALK THE LINE (2005), AUSTRALIA (2008), THE AMAZING SPIDER-MAN (2012) and THE GREATEST SHOWMAN (2017) ANDREW BUCKLAND, ACE Also an Oscar®-winner for FORD v FERRARI (2019), Andrew "Don't call me Andy" Buckland is a frequent editorial collaborator with Mike McCusker on films like; 3:10 TO YUMA (2007), THE WOLVERINE (2013) and THE GIRL ON THE TRAIN (2016). DIRK WESTERVELT, ACE When he's not cutting for James Mangold on projects such as; LOGAN (2017) and FORD v FERRARI (2019), Dirk's editing chops can be seen in  DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019). Editing INDIANA JONES AND THE DIAL OF DESTINY In our discussion with Mike, Andrew and Dirk, we talk about: Making the most of motifs To Wilhelm or not to Wilhelm Dealing with dialogue during de-aging A touch of 70's cinema for Indy Andrew Buckland - Man of a Thousand Voices The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program See Dirk present the Avid timelines from DIAL OF DESTINY Listen to Mike and Andrew talk about their work on FORD v FERRARI Hear Dirk discuss cutting ZOMBIELAND: DOUBLE TAP Watch Dirk present a behind the scenes tour of DEADPOOL 2 Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Randy Trager, ACE NIMONA editor, Randy Trager, ACE makes a return trip to The Rough Cut to share the inside story of how his latest film went from dead on the cutting room floor to live and loud on Netflix.  Beginning its development life under the banner of Blue Sky studios and its parent company 21st Century Fox, NIMONA and the rest of the Blue Sky team were moved under Disney during their acquisition of Fox.  The film's rocky development road seemingly ended in April 2021 when Disney shuttered Blue Sky.  With her relentless, never-say-die attitude, NIMONA found new life again with Annapurna Pictures and Netflix. NIMONA tells the tale of Ballister Boldheart (Riz Ahmed), a knight in a futuristic medieval world, who is framed for a crime he didn't commit.  The only one who can help him prove his innocence?  Nimona (Chloë Grace Moretz), a mischievous teen with a taste for mayhem - who also happens to be a shapeshifting creature Ballister has been trained to destroy. But with the entire kingdom out to get him, Nimona's the best (and technically the only) sidekick Ballister can hope for.  And as the lines between heroes, villains, and monsters start to blur, the two of them set out to wreak serious havoc - for Ballister to clear his name once and for all, and for Nimona to...just wreak serious havoc. RANDY TRAGER, ACE Randy began his editorial journey as an assistant editor on features such as NURSE BETTY (2000), WHAT WOMEN WANT (2000) and MEN IN BLACK II (2002).  He then made the move to working in feature animation as an assistant on ROBOTS (2005) until he got bumped up to the editor's chair on RIO (2011), THE PEANUTS MOVIE (2015) and SPIES IN DISGUISE (2019) Editing Nimona In our discussion with NIMONA editor Randy Trager ACE, we talk about: How to pack and unpack an animated feature Keeping the tone light while keeping it real The virtual future of animation studios Voice over and over and over again Breaking the law with needle drops The Credits Visit ExtremeMusic for all your production audio needs Check out what's new with Avid Media Composer Hear Randy discuss his work on Blue Sky's SPIES IN DISGUISE Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Jason Ballantine ACE and Paul Machliss ACE While THE FLASH editors Jason Ballantine ACE and Paul Machliss ACE* both hail from Australia, this latest entry in the DCEU would be their first time meeting one another.  Both editors have been advancing their careers away from their homeland for quite some time.  Jason has worked in LA for the past ten years, while Paul has been in London for the last twenty.  The director who would be responsible for bringing these two together is Andy Muschietti, Jason's director for IT (2017) and IT CHAPTER TWO (2019).  The two editors split editing duties pretty much down the middle for THE FLASH, each taking five of the film's ten reels.  One thing that did separate them for much of the film's development was geography.  While Jason was holding down the fort at Warner Brothers Studios in LA, Paul was on location in the UK for seven months, assembling main unit footage with Muschietti.  Following production, Machliss would join Jason in LA for six additional months of editing.  And it would be six more months before Ballantine would put the final touches on the highly anticipated "metahuman" movie. Based on the DC Comics character of the same name, THE FLASH is the thirteenth installment in the DC Extended Universe (DCEU). The film is directed by Andy Muschietti from a screenplay by Christina Hodson and stars Ezra Miller as Barry Allen (The Flash) alongside Ben Affleck, Michael Keaton, Sasha Calle, Michael Shannon, Ron Livingston and Maribel Verdú.  In the film, Barry travels back in time to prevent his mother's death, which traps him in an alternate reality without metahumans. Barry enlists the help of; his younger self, an older Batman and the Kryptonian castaway Supergirl in order to save this world from General Zod and return to his universe. JASON BALLANTINE ACE Jason Ballantine began his editing career in the horror genre (one which he would return to often) with the Australian thriller WOLF CREEK (2005).  From there he would edit other fright flicks, such as PROM NIGHT (2008), CRUSH (2009) and NEEDLE (2010).  But it would be his work on director Andy Muschietti's adaptation of Stephen King's IT (2017) and IT: CHAPTER TWO (2019) that would put an exclamation point on Jason's work in the horror medium.  Jason has also previously teamed up with directors Baz Luhrmann and Matthew Vaughn for THE GREAT GATSBY (2013) and THE KING'S MAN (2021) respectively. PAUL MACHLISS ACE While known most prominently for his work with Edgar Wright; SPACED (1999-2001), SCOTT PILGRIM VS THE WORLD (2010), THE WORLD'S END (2013), BABY DRIVER (2017) and LAST NIGHT IN SOHO (2021), Paul also edited; the pilot episode of FLEABAG (2016), eighteen episodes of THE IT CROWD (2006-2008) and films such as THE KID WHO WOULD BE KING (2019) and THE GENTLEMEN (2019).  For his work on BABY DRIVER, Paul was nominated for an Oscar® alongside co-editor John Amos. * [Publisher's Note] The guests wish to express their regret and apologies for using he/him pronouns in referencing Ezra Miller (they/them). No disrespect was intended toward Ezra or anyone else.  This oversight should be attributed to all of the following conditions: jet lag, old age, and recording this interview way too early on a Sunday morning.  Thanks for your understanding. Editing The Flash In our discussion with THE FLASH editors, Jason Ballantine ACE and Paul Machliss ACE, we talk about: Turning up the volume capture way past eleven Taking techniques from Baby Driver to a Baby Shower Sounds that shouldn't be heard, but still be felt Editors having The Knack for needle drops...until they don't Scoring points off Zack Snyder and Danny Elfman The Credits Visit ExtremeMusic for all your production audio needs Hear Jason Ballantine talk about IT Chapter 2 and The Guilty Listen to Paul Machliss talk about Baby Driver and Last Night in Soho Check out the free trial of Media Composer | Ultimate Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Franky Guttman and Ali Greer ACE While BARRY editors Franky Guttman and Ali Greer ACE worked independently on their own episodes of the series (the finale being the lone exception), the pair worked closely with one another and Bill Hader to review and refine each episode.  This was a process the two not only enjoyed, but credit for helping the show to maintain its high quality throughout. BARRY follows Barry Berkman, a U.S. Marine and Afghanistan veteran from Cleveland, who works as a hitman and wrestles with loneliness, depression, and guilt caused by his lifestyle as well as his actions during his service. He travels to Los Angeles to kill a target and finds a new sense of purpose when he follows his target into an acting class. After joining the class and making plans to become an actor, using his newfound passion as an outlet for his anxiety, he struggles to distance himself from his old life and keep his past a secret from new friends and colleagues. FRANKY GUTTMAN Having joined the series in Season One as an assistant editor, working closely with editor Jeff Buchanan, Guttman laid his cards on the table with showrunners Alec Berg and Bill Hader after Season Two, declaring his desire to take on lead editorial duties for the show.  The gambit not only worked, but resulted in an ACE Eddie and HPA award nomination for his work on that season's sixth episode (710N).  In addition to his work on BARRY, Franky is also known for Swarm (2023) and Kidding (2018). ALI GREER ACE Aside from her Emmy® win in 2021 for her work on BARRY in Season Three, Ali was twice nominated for an ACE Eddie award for her work on the series, Portlandia.  Ali also received an Eddie nom for the same episode of BARRY which brought her the Emmy®.  In fact, Ali's editorial career is highlighted by several standout series in the comedy genre.  Ali's time as an assistant editor was punctuated with stints on Kroll Show (2015) as well as the aforementioned Portlandia (2015).  From there she went on to edit such shows as Dream Corp LLC (2018), Black Monday (2020), Schmigadoon! (2021) and Hacks (2021), for which she received her first Emmy® nomination. Editing Barry In our discussion with the BARRY editing team of Franky Guttman and Ali Greer ACE, we talk about: Giving the audience "2+2" instead of giving them "4" Being an editor at night and the "king security guard" by day Bringing an improv mentality into the cutting room The incomparable sweatiness of Fred Armisen How to make sure both editors tell the same story The Credits Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Hear from Ali Greer ACE and the rest of the editing team from Hacks Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Melissa McCoy, ACE and A.J. Catoline, ACE Ted Lasso editors, Melissa McCoy and A.J. Catoline re-join this episode of The Rough Cut podcast to tell us about what goes on in the cutting room to make all the magic from the locker room. Ted Lasso is an AppleTV+ series developed by Jason Sudeikis, Bill Lawrence, Joe Kelly and Brendan Hunt, based on a character of the same name that Sudeikis first portrayed in a series of promos for NBC Sports' coverage of the The English Premier League. The premise is that American college football coach Ted Lasso is recruited to coach an English Premier League team, AFC Richmond, despite having no experience in English football. MELISSA McCOY ACE Michigan native, Melissa McCoy is an editor and producer, known for Ted Lasso (2020), Rush Hour (2016) and Whiskey Cavalier (2019).  Melissa won an ACE Eddie for her work on Ted Lasso in 2021. A.J. CATOLINE, ACE Emmy-winning editor, A.J. Catoline is a graduate of NYU's Tisch School of the Arts and USC's Master of Professional Writing Program, and a Board Member of the Motion Picture Editors Guild, Local 700 IATSE. He is a picture editor working in television and documentary film in Los Angeles. He attended the American School in Paris and grew up in Falmouth, Cape Cod, Massachusetts. Editing Ted Lasso - Season 3 In our discussion with Ted Lasso editors, Melissa and A.J., we talk about: Not doing the notes, just making them disappear VFX for football teams that don't have any balls The way Sudeikis lays his cards out on the table Making a mega montage One last look back on Lasso The Credits Visit Extreme Music for all your production audio needs Check out what's new with Avid Media Composer See Melissa and A.J.'s Timeline Tour from Season One Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube  

Editors - Timothy A. Good, ACE and Emily Mendez THE LAST OF US editors Tim Good, ACE and Emily Mendez are the perfect example of mentoring in action.  Paying forward the mentoring he received from editor Norman Buckley, ACE, Tim has always looked for ways he could elevate assistants into the first chair.  Building on her work with Tim on THE UMBRELLA ACADEMY, Emily was more than ready to grab the editorial reins when the time came for THE LAST OF US. THE LAST OF US is set in 2023, twenty years into a pandemic caused by a mass fungal infection which causes its hosts to transform into zombie-like creatures and collapses society.  The series follows Joel (Pedro Pascal), a smuggler tasked with escorting an immune teenager named Ellie (Bella Ramsey) across a post-apocalyptic United States.  The creative force behind the video game on which the series is based is Neil Druckmann.  One of the game’s legion of fans was writer / director Craig Mazin (Chernobyl). The two would go on to successfully pitch HBO on the concept of adapting the game into a series. TIMOTHY GOOD ACE In addition to THE LAST OF US, Tim is known as both an editor and producer for his work on such shows as The Umbrella Academy (2019) and Fringe (2008). EMILY MENDEZ Emily Mendez is known for The Umbrella Academy (2019), The Resident (2018) and Light as a Feather (2018). Editing The Last of Us In our discussion with The Last of Us editors, Tim and Emily, we talk about: How to SUCCESSFULLY adapt a video game into a series Sound design...the assistant's advantage When 1 episode + 1 episode = 1 pilot The benefits of bottle episodes Meaningful mentoring The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Craig Hayes, Varun Viswanath ACE, Chris Chandler and Trevor Penna The Blindspotting editing team of Craig Hayes, Varun Viswanath ACE, Chris Chandler and Trevor Penna collectively crafted a show unique in both its structure as well as its visual style.  On the audio side, the show is underscored by a soundtrack that pays homage to the Bay Area roots of Blindspotting creators, Rafael Casal and Daveed Diggs.  Hayes and Viswanath took on the task of cutting Season One, while Chandler and Penna split editorial duties for the sophomore effort. Taking place six months after the events of the film Blindspotting, the tv series begins with Miles, Ashley's partner of 12 years and father of their son, suddenly being incarcerated.  The situation leaves Ashley to navigate a chaotic and humorous existential crisis when she and her son Sean are forced to move in with Miles' mother and half-sister. CRAIG HAYES Craig Hayes has cemented a career as a spirited and versatile editor. He studied film at Ithaca College in New York, which inspired Craig to hone his craft and move forward in his career.  From there, Craig worked as associate editor on Gus Van Sant’s To Die For and M. Night Shyamalan’s Lady in the Water, and as assistant editor for Steven Spielberg’s War of the Worlds and Quentin Tarantino’s Django Unchained.  Craig was also first assistant editor for the award-winning HBO series John Adams.  Craig has recently worked on the critically acclaimed The Hate U Give, directed by George Tillman Jr. as well as being nominated for a best editing award for HBO’s Righteous Gemstones. VARUN VISWANATH ACE Varun is a Film & TV Editor based in Los Angeles, CA. He is a member of the American Cinema Editors and the Motion Pictures Editors Guild, and has an MFA in Film Editing from The American Film Institute Conservatory. His work on What We Do In The Shadows was nominated for Best Edited Comedy Series at the 2021 ACE Eddie awards. CHRIS CHANDLER Blindspotting is Chris’s first full series as an editor. Prior to this series, he was an assistant and co-editor on FX’s Dave, as well as HBO’s Curb Your Enthusiasm, which he refers to as his “master class training in comedy and storytelling.” He received an ACE Eddie nomination for his work co-editing the "Curb" Season 11 finale, “The Mormon Advantage,” alongside one of his mentors, Roger Nygard ACE. TREVOR PENNA Trevor began his postproduction career assisting editor Tim Roche on shows such as Curb Your Enthusiasm and WandaVision. Following those jobs he then took on lead editorial duties for the Apple TV+ series, Mythic Quest. Editing Blindspotting In our discussion with the Blindspotting editing team we talk about: Making magic out of monologues Musical misunderstandings with remote editorial Fluidmorph and Animatte...it's all Fluidmorph and Animatte Nailing the needle drops to honor Oakland artists Cutting choreography The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer Meet the editor of the film Blindspotting, Gabe Fleming Hear Trevor Penna talk about his work on Mythic Quest Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Greg O'Bryant EXTRAPOLATIONS editor, Greg O'Bryant has once again teamed up with writer/director Scott Z. Burns, this time to take on the challenge of creating an entertaining, educational and hopefully motivational series about the future effects of climate change.  Delivered as an anthology series, one of the more daunting tasks for the team would be managing the often dramatic shifts in tone, as well as the delicate balance between drama and, on occasion, comedy. Taking place in the not-too-distant future, but over the span of thirty-three years, EXTRAPOLATIONS shows how the effects of climate change have become embedded into people's everyday lives; through eight interwoven stories that explore the intimate, life-changing choices that must be made when the planet is changing faster than the population. GREG O'BRYANT Greg first began his partnership with Scott Z. Burns on the latter's political drama, THE REPORT (2019).  Greg would also edit an episode of the series, THE LOUDEST VOICE (2019) that Burns helmed.  In addition to his work with Scott Z. Burns, Greg is also a frequent collaborator with show runner, Nick Antosca.  Their partnership first began on CHANNEL ZERO, a SyFy Channel anthology series based on the popular Internet "Creepypastas" Candle Cove, The No-End House and Butcher's Block.  Subsequent projects with Antosca would include Hulu's original series, THE ACT, as well as the Netflix series, BRAND NEW CHERRY FLAVOR.  Greg also edited the tv series, THE GIRLFRIEND EXPERIENCE, adapted from the film by Steven Soderbergh...who directed CONTAGION...written by Scott Z. Burns. Editing Extrapolations In our discussion with EXTRAPOLATIONS editor, Greg O'Bryant, we talk about: Not crossing the streams of comedy and drama The only geography that matters Why you need sixty mice Entertaining and educating for the sake of motivating Learning to love VFX, while still bemoaning blue screen The Credits Visit ExtremeMusic for all your production audio needs Check out the free trial of Media Composer | Ultimate Hear Greg discuss his work on the Netflix series, BRAND NEW CHERRY FLAVOR Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Fred Raskin ACE and Greg D'Auria GUARDIANS OF THE GALAXY: VOL. 3 editors Fred Raskin and Greg D'Auria find themselves in familiar territory; collaborating on a James Gunn project.  But their twenty-year plus relationship dates back much further than their work with Gunn.  The two first collaborated on Tarantino's KILL BILL: VOL. 1 (2003). In James Gunn's final installment of the "Guardians" trilogy, Peter Quill, still reeling from the loss of Gamora, must rally his team to defend the universe and protect one of their own. If the mission is not completely successful, it could possibly lead to the end of the Guardians as we know them. FRED RASKIN ACE Fred has worked with Gunn on all three Guardians of the Galaxy films, as well as the tv series PEACEMAKER and Peacemaker's origin film, THE SUICIDE SQUAD (2021).  In addition to his work with Gunn, another prominent director that Fred is known to cut for is Quentin Tarantino.  Fred handled the editorial duties for DJANGO UNCHAINED (2012), THE HATEFUL EIGHT (2015) and, most recently, ONCE UPON A TIME IN HOLLYWOOD (2019). GREG D'AURIA Editor Greg D'Auria has crossed paths with Fred Raskin on more than one occasion in their careers.  Also a veteran of the "Quentin Tarantino Extended Universe", Greg has worked as assistant and editor on films such as KILL BILL: VOL 1 (2003) and DJANGO UNCHAINED (2012).  D'Auria also lent his editorial talents to films like FAST & FURIOUS 6 (2013), F9: THE FAST SAGA (2021) and the GUARDIANS OF THE GALAXY HOLIDAY SPECIAL (2022). Editing GUARDIANS OF THE GALAXY: VOL. 3 In our discussion with Guardians of the Galaxy Vol 3 editors, Fred and Greg, we talk about: VFX being the tail that wags the...raccoon? Cutting a film without reading the script Bowling for sound effects The family business of temp tracks Final thoughts on the Guardians trilogy The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Hear Fred and Greg talk about their work on Gunn's PEACEMAKER Listen to Fred and editor Chris Wagner discuss Gunn's THE SUICIDE SQUAD Editor Fred Raskin talks about cutting Quentin Tarantino's ONCE UPON A TIME IN HOLLYWOOD Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Glenn Garland ACE, Bob Ducsay ACE, Paul Swain, Shaheed Qaasim The POKER FACE editing team of Garland, Ducsay, Qaasim and Swain might sound like a formidable name for a law firm, but their real talents lie in making a great "howcatchem" show with noted director and series creator, Rian Johnson. POKER FACE is a murder mystery series stylized as a character-driven, case-of-the-week mystery, with each episode adapting the inverted detective story format popularized by COLUMBO.  The series centers around Charlie Cale, a casino worker with an innate ability to detect lies, traveling across the United States on the run from a casino boss following a suspicious death. Along the way, she encounters colorful characters and solves homicides in a variety of settings. GLENN GARLAND, ACE Accomplished editor Glenn Garland, ACE has over three decades of experience plying his skills on fan favorite tv series such as; STAN AGAINST EVIL, PREACHER and THE VAMPIRE DIARIES, as well as feature films like; HALLOWEEN (2007), KING OF CALIFORNIA and the infamously unreleased THE FANTASTIC FOUR (1994). BOB DUCSAY, ACE Editor Bob Ducsay ACE has forged a tight collaborative bond with director Rian Johnson, going back to their first film, LOOPER (2012).  And although POKER FACE is only their first tv series together, the quality of their feature work has already been recognized by audiences, critics and the industry at large.  The pair were recently honored with the inaugural Variety Creative Collaborators Award at the 10th annual Middleburg Film Festival. PAUL SWAIN Rock drummer turned editor Paul Swain has brought his natural sense of rhythm to such projects as; THE UNICORN, THE EX-PM and THE MOODYS, for which he won an Australian Screen Editors ASE award in 2014. SHAHEED QAASIM Editor by day, swing dancer by night, Shaheed Qaasim's storytelling chops can be seen in shows like; MODERN FAMILY, THE WALKING DEAD: WORLD BEYOND and FUTURE MAN. Editing POKER FACE In our discussion with the POKER FACE editing team, we talk about: Paying homage to 70's procedurals Going from swing dancing to swings in tone Reinventing the audio and visual languages throughout Teaching your audience how to watch the show Holding off on temp score until you really need it The Credits Visit Extreme Music for all your production audio needs Learn about Avid's new Media Composer for Students program Hear Bob's interviews about his work on Rian Johnson's; KNIVES OUT, GLASS ONION and THE LAST JEDI. Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Kristi Shimek INVITATION TO A MURDER editor Kristi Shimek, like the protagonist of her new film, is not afraid of a challenge when it comes to figuring out how to piece a complex story together.  Having already amassed a credit list that is both long and varied, Kristi is equally comfortable cutting a classic whodunnit as she is with a rom-com or a grizzly horror flick.  Part of that comfort may come from feeling at home, quite literally and figuratively, with the her frequent director and full-time husband, Stephen Shimek. Set in 1934, INVITATION TO A MURDER tells the tale of how a reclusive billionaire invites amateur sleuth Miranda Green and five other, seemingly random, strangers to his remote island estate in the south of England.  When one of the guest turns up dead, Miranda must get to the bottom of the malicious plot behind the gathering.  As the weekend progresses, the clues about why they have been invited begin to unfold along with a sinister mystery. Editing INVITATION TO A MURDER In our discussion with INVITATION TO A MURDER editor Kristi Shimek, we talk about: The present and possible future of remote editorial Making room for personal time, even when you're married to the director Leading the audience through a mystery with and without the protagonist Developing the characters without delaying the dynamics What Kristi wishes they would teach in film school The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Ryan Folsey RENFIELD editor Ryan Folsey never went to summer camp and never went to film school.  His formative years were spent on the lot at Universal Studios and on location with his father, editor George Folsey Jr. (ANIMAL HOUSE, THE BLUES BROTHERS, COMING TO AMERICA, MICHAEL JACKSON'S THRILLER).  It was there that Ryan learned and fell in love with the craft of editing.  In his professional life, Ryan has applied his craft to films such as; CABIN FEVER (2002), THE LEGO NINJAGO MOVIE (2017), SCOOB! (2020) and THE ADAMS FAMILY 2 (2021). RENFIELD was directed by Chris McKay from a screenplay by Ryan Ridley, and based on an original idea by Robert Kirkman featuring characters from Bram Stoker's 1897 novel Dracula. The film stars Nicholas Hoult as Count Dracula's lackey R. M. Renfield, who finds a new lease on life in modern-day New Orleans when he falls in love with Rebecca Quincy (Awkwafina), a traffic cop, and decides to finally stand up to his creator in hopes of finally breaking free of his servitude.  Editing RENFIELD In our discussion with RENFIELD editor Ryan Folsey, we talk about: Finding the right balance between comedy and horror To explain, or not to explain, the mythology of Dracula Speed ramping up the action Nic Cage and more Nic Cage Getting tossed into a trim bin by the Blues Brothers The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor, William Goldenberg ACE AIR editor William Goldenberg ACE ("Billy" to his friends) re-joins The Rough Cut to discuss his new film with director Ben Affleck.  A highly accomplished editor, Billy has been nominated for an Oscar® a total of five times for THE INSIDER, SEABISCUIT, THE IMITATION GAME, ZERO DARK THIRTY and ARGO.  The latter two nominations came on the same year, with Billy ultimately winning for ARGO, directed by Ben Affleck.  Goldenberg and Affleck also worked together on LIVE BY NIGHT and GONE BABY GONE. Written by Alex Convery and directed by Ben Affleck, AIR tells the story of Nike executive Sonny Vaccaro (Matt Damon) and his quest to establish Nike in the world of basketball by signing a young phenom named Michael Jordan.  The only way Vacarro can get any attention from a reluctant Jordan is to win over Michael's mother, Deloris (Viola Davis).  The film also stars Chris Tucker, Jason Bateman, Chris Messina, Marlon Wayans and Ben Affleck as Nike head honcho, Phil Knight. Editing AIR In our discussion with AIR editor William Goldenberg ACE, we talk about: Working, or not, with Michael Jordan Cutting in the office when the office is on set Needle drops, needle drops and more needle drops Scoring a film without a composer Creating tension and interest when the audience already knows the outcome A dozen roses from Richard Pryor The Credits Visit ExtremeMusic for all your production audio needs Sign up for a super low cost monthly or annual subscription to Avid Media Composer Hear Billy's interview on cutting NEWS OF THE WORLD Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Dungeons & Dragons: Honor Among Thieves - Editor Dan Lebental ACE DUNGEONS & DRAGONS: HONOR AMONG THIEVES editor, Dan Lebental ACE makes his fourth appearance on The Rough Cut.  Dan was on previously to discuss SPIDER-MAN: FAR FROM HOME (2019), ELF (2003) and BAD BOYS FOR LIFE (2020). Based on Hasbro's beloved role playing game, Dan's new film is about a charming thief and a band of unlikely adventurers who embark on an epic quest to retrieve a long lost relic, but their charming adventure goes dangerously awry when they run afoul of the wrong people.  The film is written and directed by John Francis Daley and Jonathan Goldstein, with an additional writing credit to Michael Gilio. Editing Dungeons & Dragons: Honor Among Thieves In our discussion with editor Dan Lebental ACE, we talk about: Discovering the best script in decades Working with writer/director teams Bringing sound mixing and editing closer to editorial Balancing character development against pacing Magic in the editing room The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer Listen to Dan's interview about Spider-Man: Homecoming Dan Lebental ACE discusses cutting Bad Boys For Life Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Visit The Rough Cut on YouTube

John Wick: Chapter 4 - Editor Nathan Orloff, Asst. and Additional Editor Nicholas Lundgren JOHN WICK: CHAPTER 4 editor, Nathan Orloff and assistant and additional editor, Nicholas Lundgren first joined forces in their early days at JJ Abrams' Bad Robot studio, with their initial collaborative effort being director Morgan Dameron's DIFFERENT FLOWERS (2017).  For director Chad Stahelski's latest installment of the chronicles of the reluctant hit man, Nathan and Nicholas are together once again, this time with Nicholas earning an Additional Editor credit. With the price on his head ever increasing, JOHN WICK: CHAPTER 4 tells the tale of the legendary hit man as he takes his fight against the High Table global and seeks out the most powerful players in the underworld, from New York to Paris to Japan to Berlin. NATHAN ORLOFF Nathan Orloff is known for his editing on TULLY (2018), PLAN B (2021) and GHOSTBUSTERS: AFTERLIFE (2021). NICHOLAS LUNDGREN In addition to his work on JOHN WICK: CHAPTER 4, Nicholas has assisted on films such as; OVERLORD (2018), PET SEMATARY (2019) and WEST SIDE STORY (2021). Editing John Wick: Chapter 4 In our discussion with JOHN WICK: CHAPTER 4 editor Nathan Orloff and asst./addt'l editor Nicholas Lundgren, we talk about: Finding an editor who doesn't do action movies for your big action movie Building bridges at Bad Robot Working "wide" to create comedy amidst the chaos Buster Keaton, action hero The beauty of vertical monitor, script-view, scene bins The Credits Visit ExtremeMusic for all your production audio needs See what's new with Avid Media Composer See Nathan Orloff's guided tour of his John Wick: Chapter 4 Media Composer timelines Hear Nathan Orloff discuss cutting Ghostbusters: Afterlife Editor Evan Schiff on cutting John Wick: Chapter 3 - Parabellum Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Visit The Rough Cut on YouTube

Editors - Laura Jennings and Adam Gerstel Ant-Man and The Wasp: Quantumania editors Laura Jennings and Adam Gerstel jumped in with both feet when director Peyton Reed suggested that he wanted to have a "unified" cutting room unlike any Marvel movie that had come before.  The result?  A director's cut driven by two editors, one Avid, a pair of dueling Bluetooth keyboards, and no regrets! In Ant-Man and The Wasp: Quantumania, which officially kicks off phase 5 of the Marvel Cinematic Universe, Super-Hero partners Scott Lang (Paul Rudd) and Hope Van Dyne (Evangeline Lilly) return to continue their adventures as Ant-Man and The Wasp. Together, with Hope’s parents Hank Pym (Michael Douglas) and Janet Van Dyne (Michelle Pfeiffer), the family finds themselves exploring the Quantum Realm, interacting with strange new creatures and embarking on an adventure that will push them beyond the limits of what they thought was possible. Jonathan Majors joins the adventure as Kang. LAURA JENNINGS Although she's joining the Marvel family for the first time, Laura is no amateur when it comes to VFX heavy features, having previously edited films such as MALEFICENT: MISTRESS OF EVIL and EDGE OF TOMORROW (aka LIVE DIE REPEAT). ADAM GERSTEL Although this is also Adam's first tour of duty in the MCU, he's no stranger to the "StageCraft" virtual set technology used in this movie.  Adam worked with similar models when cutting THE LION KING and THE MANDALORIAN: SEASON TWO. Editing Ant-Man and The Wasp: Quantumania In our discussion with Ant-Man and The Wasp: Quantumania editors Laura Jennings and Adam Gerstel, we talk about: Tandem cutting with Bluetooth keyboards Teaching "twelve year-olds" about KEM rolls What to do when they knock five months off your schedule When your character has a giant head, every shot is a close-up Location scouting with VR headsets The Credits Visit ExtremeMusic for all your production audio needs See which Media Composer offering is right for you Hear editor Laura Jennings discuss cutting Maleficent: Mistress of Evil Listen to editor Adam Gerstel talk about his work on The Lion King and The Mandalorian Subscribe to The Rough Cut for more great interviews with the heroes of the editing room Got an idea for the show, leave a message on The Rough Cut website Visit The Rough Cut on YouTube

Editors - Yvette M. Amirian, ACE and Matt Friedman, ACE When it comes to learning editing in film school, who better to learn from than ACE editors?  When they aren't in the cutting rooms themselves, editors Yvette M. Amirian, ACE and Matt Friedman, ACE are in the classrooms of two of the most prestigious film schools in the world.  Yvette has returned to the institution where she received her own filmmaking education, USC, to help inform the next generation as to what they need to know about the craft, as well as the career, of editing.  At the American Film Institute, Matt asks his grad students to consider more than just how to put a story together, but to question why something works or something doesn't; never letting them forget that every frame matters. Yvette M. Amirian, ACE Yvette M. Amirian, ACE is an award-nominated film and television editor. After graduating from the University of Southern California’s (USC) School of Cinema-Television, she built a successful career and has been transitioning seamlessly between editing scripted and documentary content for the better part of two decades. In 2011, she and her team received an Eddie Award nomination from the American Cinema Editors (ACE) for their work on Animal Planet’s Whale Wars. In 2017, she edited and produced John Singleton’s L.A. Burning: The Riots 25 Years Later for A&E, which was nominated for a Primetime Emmy (Outstanding Documentary Special). Her most recent project is an upcoming scripted feature for critically acclaimed filmmaker Robert Machoian, The Integrity of Joseph Chambers. Yvette is a proud member of the Motion Picture Editor’s Guild, the Academy of TV Arts & Sciences, and ACE. She lives in Los Angeles with her husband and two sons. Matt Friedman, ACE Matt won the 2021 ACE Eddie for Best Edited Feature Film (Comedy) for Palm Springs, and was nominated in 2020 for "The Farewell".  He was born in rural east Tennessee to a coal mining family living in the foothills of the Appalachians.  After graduating from Oak Ridge High School with an emphasis in Extinct Ancient Languages, Matt headed for Chicago to attend Northwestern University. Due to a series of accidental registration errors, he ended up with enough credits for a degree in Economics as well as Film. None of his college film work involved blowing up model cars, however. He finished his Econ degree at the University of Queensland, in Brisbane, Australia, where he was offered AU$100 and a Sydney snow globe by a group of Australian students if he would vote for Clinton in '92 via absentee ballot. Matt then moved to a spacious two bedroom apartment in scenic North Hollywood to begin his film career in earnest. Arriving just in time for the Northridge Earthquake and the fires and mudslides of '93, he was very lucky to begin working for a series of extremely supportive and wonderful editors, including (but not limited to!) Peter Teschner, Emma Hickox, Jill Bilcock, and Sheldon Kahn. In recent years, Matt has enjoyed cutting a variety of different types of films and television pilots, including films in Spanish and Chinese, even though he doesn't speak the languages. He now lives in the Hollywood Hills with his wonderful husband Chris and their son.   In our discussion with educators and editors Yvette M. Amirian, ACE and Matt Friedman, ACE about teaching editing in film school, we talk about: What today's editors/educators learned from their own film school experience Crafting editing curriculums, or is it curricula? What editors can learn about editing from their students Taking off points for messy timelines The next steps right after film school The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Hear Matt discuss his work on PALM SPRINGS See Matt walk you through his Media Composer timeline for PALM SPRINGS. Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Chris McCaleb, ACE TO LESLIE editor Chris McCaleb ACE has been exploring the art and craft of editing since 2000, working closely with filmmakers like Michael Mann, John Sayles, and Vince Gilligan over the years.  In 2006, McCaleb co-founded the filmmaking collective Big Fantastic, where he was involved in the writing, directing, producing and editing of over 400 episodes of original online dramas, such as the Emmy-nominated “Prom Queen” and “Sam Has 7 Friends.”  McCaleb returned to editorial full-time in 2011, and has been editing TV series like “Better Call Saul,” “Halt and Catch Fire,” “Fear the Walking Dead,” “Patriot,” “Lodge 49,” and “Narcos” since 2014.  TO LESLIE is McCaleb's first feature film as an editor. TO LESLIE tells the story of a West Texas single mother struggling to provide for her son when she wins the lottery and a chance at a better life for both of them.  But a few short years later the money is gone and Leslie is on her own, living hard and forced to make a difficult choice. Editing To Leslie In our discussion with TO LESLIE editor Chris McCaleb ACE, we talk about: The true nature of awards season campaigns Bonding with the director over virtual reality Giving producers and directors other options Protecting the performances with every cut Teaching the audience how to watch your movie The Credits Visit Extreme Music for all your production audio needs Hear Chris talk about his work on BETTER CALL SAUL Listen to Chris and BREAKING BAD / BETER CALL SAUL teammates Kelley Dixon ACE (editor) and Kathryn Madsen (sound supervisor) give their advice for future film and tv makers See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Matt Chesse, ACE A MAN CALLED OTTO editor Matt Chesse ACE once again finds himself cutting with frequent collaborator, director Marc Forster.  The pair have been working together since 2000 and have joined forces on such films as; MONSTER'S BALL(2001), FINDING NEVERLAND (2004), THE KITE RUNNER (2007), QUANTUM OF SOLACE (2008) and CHRISTOPHER ROBIN (2018).  For their latest project, the two have the enormous task of delicately balancing drama and comedy in their cinematic adaptation of the moving New York Times bestseller. A MAN CALLED OTTO tells the story of Otto Anderson (Tom Hanks), a grumpy widower whose only joy comes from criticizing and judging his exasperated neighbors. When a lively young family moves in next door, he meets his match in quick-witted and very pregnant Marisol, leading to an unexpected friendship that will turn his world upside-down. Editing A Man Called Otto In our discussion with A MAN CALLED OTTO editor Matt Chesse ACE, we talk about: What to do when the editor "Snoods out" on you The editor's role in casting Scouting and tweaking cutting rooms Walking the tightrope of pathos and punchlines Making needle drops a family business The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Doc Crotzer, ACE SHOTGUN WEDDING editor Doc Crotzer ACE has plenty of experience cutting comedy, but most of that came from his ACE Eddie-nominated work on the hit tv series, GLEE.  Prior to SHOTGUN WEDDING, Doc's only real studio feature film experience was in the Sci-Fi/Fantasy film, CHAOS WALKING (2021); which didn't exactly afford him the opportunity to go for laughs.  That all changed with his sophomore feature film effort, the new action comedy SHOTGUN WEDDING. SHOTGUN WEDDING sees soon-to-be newlyweds Darcy (Jennifer Lopez) and Tom (Josh Duhamel), along with their lovable but very opinionated families, gathering for the ultimate destination wedding.  Just when the couple starts to get cold feet, the wedding party is taken hostage; forcing them to work together to save their loved ones, provided they don't end up killing each other first. Editing Shotgun Wedding In our discussion with Shotgun Wedding editor Doc Crotzer ACE, we talk about: Living in LA so you can get a job in NYC Building working relationships with studios Anchoring action to geography What screenings can tell you about your score Adapting your process to suit the needs of the team The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Hear Doc discuss his work on CHAOS WALKING Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Jeff McEvoy M3GAN editor Jeff McEvoy doesn't exactly spend his free time going down the rabbit hole that is TikTok.  More often he can be found getting in some exercise in the cutting room or on the hiking trails.  So he was just as surprised as anyone when the trailer for his Blumhouse horror movie about a "killer robot doll" blew up on the social media site most famous for showcasing lousy dancing and eating challenges.  But what should be no surprise is that Jeff's considerable storytelling skills and years of experience as an editor helped make M3GAN the breakout hit that it's become. M3GAN is a marvel of artificial intelligence, a lifelike doll that's programmed to be a child's greatest companion and a parent's greatest ally. Designed by Gemma (Allison Williams), a brilliant roboticist, M3GAN can listen, watch and learn as it plays the role of friend and teacher, playmate and protector. When Gemma becomes the unexpected caretaker of her 8-year-old niece, she decides to give the girl an M3GAN prototype, a decision that leads to unimaginable consequences. Editing M3GAN In our discussion with M3GAN editor Jeff McEvoy, we talk about: The importance of air squats in the cutting room Hiring comedians to bring the comedy Getting really good with the UNREAL engine Using Melodyne in Pro Tools for dialogue design Dynamic morphing your way from an R to a PG-13 The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Stephen E. Rivkin ACE AVATAR - THE WAY OF WATER editor Steve Rivkin was no stranger to crafting an epic sci-fi film with director James Cameron.  Rivkin was on hand for the original, record-shattering film that spawned what would become a fantasy franchise.  Still, with WAY OF WATER, there would be new challenges to overcome, not the least of which would be working with ground-breaking underwater motion capture techniques and unique processes such as "facial performance replacement". Twelve years after the Na'vi repelled the human invasion of Pandora by the Resources Development Administration (RDA), Jake Sully lives as chief of the Omaticaya clan, and raises a family with Neytiri, which includes sons Neteyam and Lo'ak, daughter Tuk, and an adopted daughter Kiri (born from Grace Augustine's inert avatar). His children are inseparable from a human boy named Spider, the son of Colonel Miles Quaritch, who was born on Pandora and was unable to be transported to Earth in cryostasis due to his infancy. To the Na'vi's dismay, the RDA returns to prepare Pandora for human colonization, as Earth is dying. Among the new arrivals are 'recombinants'—Na'vi avatars implanted with the minds and memories of deceased human soldiers—with Quaritch's recombinant serving as their leader. Editing Avatar - The Way of Water In our discussion with Avatar - The Way of Water editor Stephen E. Rivkin ACE, we talk about: Building a blockbuster from table reads and title cards Crafting two big movies at the same time Centering production around "Spider" Cutting the film at least two times Retiring The Rough Cut The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Sven Budelmann ALL QUIET ON THE WESTERN FRONT editor Sven Budelmann knew he was in for a challenge in remaking the classic German anti-war novel.  Not only was the novel already brought to the big screen as a 1930 Oscar® winner for Best Picture, but adding to the task was that this film would be the first ever adaptation made by German filmmakers.  Fortunately Sven would be collaborating with a director with whom he was quiet familiar.  Prior to this project, Sven had worked with director Edward Berger on six episodes of the German TV series, DEUTSCHLAND 83, as well as a German made-for-TV movie.  In addition to his work with Berger, Sven also cut an episode of the highly-acclaimed Netflix series, DARK. Set in the closing days of World War I, ALL QUIET ON THE WESTERN FRONT (based on the 1929 novel of the same name by Erich Maria Remarque) follows the life of an idealistic young German soldier named Paul Bäumer.  After enlisting in the German Army with his friends, Bäumer finds himself exposed to the realities of war, shattering his early hopes of becoming a hero as he does his best to survive.  The film adds a parallel storyline not found in the book, which follows the armistice negotiations to end the war. Editing All Quiet on the Western Front In our discussion with ALL QUIET ON THE WESTERN FRONT editor Sven Budelmann we talk about: Closing the door on snare drum hits Letting the audience finish their popcorn in the opening minutes of the film Using the Avid Artist | DNxID for Zoom reviews Marty Schenk's sizzling reels The psychological toll cutting a war movie takes on its editor The Credits Visit Extreme Music for all your production audio needs See the latest new features in Avid Media Composer Send me your feedback and questions here Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Daysha Broadway, ACE I WANNA DANCE WITH SOMEBODY editor Daysha Broadway, ACE returns to The Rough Cut podcast with both an Emmy® in hand for her work on HBO'S A BLACK LADY SKETCH SHOW and her first feature film as an editor.  A Los Angeles native, Daysha began her career with a Master's Degree in Film Editing from Dodge College of Film and Media Arts at Chapman University.  Prior to her feature editing debut, Daysha had spent most of her career editing documentary, scripted, and unscripted television.  In addition to A BLACK LADY SKETCH SHOW, her TV credits include numerous shows such as INSECURE, 9-1-1, TWENTIES and BOOMERANG. Daysha has also contributed her talents to documentaries such as LIGHT GIRLS and SURVIVING R. KELLY; the latter of which earned her a Peabody award. Directed by Kasi Lemmons (EVE'S BAYOU, HARRIET) from a screenplay by Anthony McCarten (BOHEMIAN RHAPSODY), WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY is based on the life and career of American pop singer and actress Whitney Houston. Discovered by record executive Clive Davis, Whitney rose from obscurity to international fame in the 1980s to become one of the greatest singers of her generation.  The film stars Naomi Ackie, Stanley Tucci, Ashton Sanders, Tamara Tunie, Nafessa Williams, and Clarke Peters. Editing WHITNEY HOUSTON: I WANNA DANCE WITH SOMEBODY In our discussion with editor Daysha Broadway, ACE we talk about: Making someone's favorite movie Driving a narrative through pop hits The intricacies of intercutting Bringing "The Voice" back to life with an Oscar®-winning sound team Daysha's New Year's resolution The Credits Visit Extreme Music for all your production audio needs See the latest with Avid Media Composer Hear Daysha and her Emmy®-winning co-editors discuss cutting A BLACK LADY SKECTH SHOW Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Michael Kahn ACE and Sarah Broshar THE FABELMANS editors Michael Kahn ACE and Sarah Broshar have been working together for sixteen years, going back to the film 10 ITEMS OR LESS (2006), written and directed by Brad Silberling.  At that time, Sarah was in the cutting room as an apprentice.  It would be five more years before Sarah would work with both Michael Kahn AND Steven Spielberg on THE ADVENTURES OF TINTIN (2011); this time as an assistant.  Six years later on Spielberg's THE POST (2017), Sarah would take on co-editorial duties with Mr. Kahn.  She would continue to do so on Spielberg’s subsequent films; READY PLAYER ONE (2018), WEST SIDE STORY (2021) and THE FABELMANS.  Veteran editor Michael Kahn ACE first worked with Spielberg on CLOSE ENCOUNTERS OF THE THIRD KIND (1977).  Among his numerous notable films, Michael would go on to win Oscar® awards for editing Spielberg's RAIDERS OF THE LOST ARK (1981), SCHINDLER’S LIST (1993) and SAVING PRIVATE RYAN (1998). THE FABELMANS is a coming-of-age drama film directed by Steven Spielberg and written and produced by Tony Kushner and Spielberg.  It is a semi-autobiographical story loosely based on Spielberg's adolescence and first years as a filmmaker. The tale is told as an original story of the fictional Sammy Fabelman, a young aspiring filmmaker who explores how the power of films can help him see the truth about his dysfunctional family. The film features an ensemble cast that includes Gabriel LaBelle as Sammy, with Michelle Williams, Paul Dano, Seth Rogen, and Judd Hirsch in supporting roles. The film is dedicated to the memories of Spielberg's real-life parents Leah Adler and Arnold Spielberg, who died in 2017 and 2020, respectively. Editing The Fabelmans In our discussion with THE FABLEMANS editors Michael Kahn ACE and Sarah Broshar, we talk about: Working with Steven Spielberg, of course! Sharing one big Avid Making up match cuts A close encounter on Hogan's Heroes Looking forward, never backward The Credits Visit Extreme Music for all your production audio needs See the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Tom Cross, ACE BABYLON editor Tom Cross, ACE first really made a name for himself working alongside director Damien Chazelle on their breakout film, WHIPLASH (2014).  Among the many accolades garnered by the film was Cross's Oscar® win for Best Film Editing.  Chazelle and Cross would follow that up with another hit movie, LA LA LAND (2016), for which Cross was again nominated for an Oscar®.  The two would team up yet again for FIRST MAN (2018), a biopic about astronaut Neil Armstrong.  Prior to rejoining Chazelle for BABYLON, Cross collaborated with editor Elliot Graham ACE to cut Daniel Craig's final turn as James Bond in, NO TIME TO DIE (2021). Written and directed by Damien Chazelle, BABYLON features an ensemble cast that includes Brad Pitt, Margot Robbie, Diego Calva, Jean Smart, Jovan Adepo, Tobey Maguire and Li Jun Li. Its plot chronicles the rise and fall of multiple characters during an era of unbridled decadence and depravity in the late 1920's when Hollywood was transitioning from silent films to "talkies". Editing BABYLON In our discussion with BABYLON editor Tom Cross, ACE we talk about: The actual workload of oners The science of silence The tightly integrated process between Tom and composer Justin Hurwitz SuperGroups for mastering musicals Tom's taste in toppings The Credits Visit Extreme Music for all your production audio needs See the latest Special Offers for Avid Media Composer Hear Tom Cross discuss cutting NO TIME TO DIE Check out Tom's Rough Cut interview about Damien Chazelle's FIRST MAN Watch Tom give a guided Timeline Tour of his edit of FIRST MAN Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Brad Wilhite SPIRITED editor Brad Wilhite had plenty of experience cutting for laughs, but when you put it to music, that's a whole different story.  Brad didn't even like musicals before he took the job of cutting SPIRITED.  But with a little research and a little help from editorial angels like Myron Kerstein ACE, Tom Cross ACE and Debra Neil-Fisher ACE, Brad soon found the Christmas spirit in the cutting room.  Brad also reunited on SPIRITED with the writing/directing team of Sean Anders and John Morris, with whom Brad has worked on films such as; HORRIBLE BOSSES 2 (2014), DADDY'S HOME (2015), DADDY'S HOME 2 (2017) and INSTANT FAMILY (2018). Starring Will Ferrell and Ryan Reynolds, SPIRITED is a modern retelling of Charles Dickens's 1843 novella A Christmas Carol and its various adaptations since. The Ghost of Christmas Present (Ferrell) is nearing retirement, which would mean a return to Earth. He sets his sights on an "unredeemable" man (Reynolds), a man who may end up helping the Ghost come to terms with his own past. Editing Spirited In our discussion with SPIRITED editor Brad Wilhite we talk about: The little "wins" you need to have when editing a musical Being comfortable "airing things out" in the cutting room Getting familiar with the other departments Editing video tap footage to kick things off The best gift you can give to an editor The Credits Visit Extreme Music for all your production audio needs See the latest Special Offers for Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Bob Ducsay, ACE GLASS ONION editor Bob Ducsay ACE has forged a tight collaborative bond with director Rian Johnson, going back to their first film, LOOPER (2012).  And although GLASS ONION is only their fourth feature together, the quality of their work has been recognized by audiences, critics and the industry at large.  The pair were recently honored with the inaugural Variety Creative Collaborators Award at the 10th annual Middleburg Film Festival. [Purloined from the good folks at ROTTEN TOMATOES]  Benoit Blanc returns to peel back the layers in a new Rian Johnson whodunit. This fresh adventure finds the intrepid detective at a lavish private estate on a Greek island, but how and why he comes to be there is only the first of many puzzles. Blanc soon meets a distinctly disparate group of friends gathering at the invitation of billionaire Miles Bron for their yearly reunion. Among those on the guest list are Miles' former business partner Andi Brand, current Connecticut governor Claire Debella, cutting-edge scientist Lionel Toussaint, fashion designer and former model Birdie Jay and her conscientious assistant Peg, and influencer Duke Cody and his sidekick girlfriend Whiskey. As in all the best murder mysteries, each character harbors their own secrets, lies and motivations. When someone turns up dead, everyone is a suspect. Editing Glass Onion - a Knives Out mystery In our discussion with GLASS ONION editor Bob Ducsay ACE we talk about: Making mysteries with Rian Johnson Connecting with the details to make a better movie Winding the audience clock Dealing in double narratives Zooming with Sondheim The Credits Visit Extreme Music for all your production audio needs See the latest Special Offers for Avid Media Composer Hear Bob's interview about his work on KNIVES OUT Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editors - Ken Schretzmann ACE and Holly Klein PINOCCHIO editors Ken Schretzmann ACE and Holly Klein each have a background rich with experience in animation.  But while Ken's is in editing CGI-animated features like TOY STORY 3 (2010) and CARS (2006), Holly's earlier work was actually as an animator for TV shows such as BLUES CLUES and WONDER PETS!  Together they took on the roles of Animatic Editor (Ken) and Production Editor (Holly) to help tame the massive challenge of crafting a contemporary stop motion classic. Academy Award-winning director Guillermo del Toro’s lifelong love of animation and the art of stop motion began when he was a child growing up in Guadalajara, Mexico.  By the age of eight, he had started shooting his own amateur stop motion films using his toys and a Super 8 camera that belonged to his father.  As a teenager, he began teaching Claymation classes and, in the process, came upon an idea that would find its way to fruition four decades later; a cinematic adaptation based on Gris Grimly's design from his 2002 edition of Carlo Collodi's 1883 Italian novel, The Adventures of Pinocchio.  Co-directed by del Toro and stop motion vet Mark Gustafson (in his feature directorial debut), the film stars the voices of Ewan McGregor, David Bradley, Gregory Mann, Burn Gorman, John Turturro, Ron Perlman, Finn Wolfhard, Cate Blanchett, Tim Blake Nelson, Christoph Waltz, and Tilda Swinton. Editing Guillermo del Toro's Pinocchio In our discussion with Ken and Holly, we talk about: Bringing leftovers into work Animating in the mistakes How you can’t rehearse fighting with a balloon Using green screen to buy the animators some time Table reads for scratch dialogue The Credits Visit Extreme Music for all your production audio needs See the latest Special Offers for Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - A. Sreekar Prasad RRR editor A. Sreekar Prasad not only knows how to cut a great movie, he knows how to do it quickly when required.  But despite having a massive fourteen film credits to his name in 2022 alone, Sreekar's time on RRR was actually spread out over three years, with a constant cycle of cutting scenes and turning them over to VFX to accommodate for the huge role CGI played in bringing RRR to life.  In addition to RRR, A. Sreekar Prasad is known for his work on TALVAR (2015), DIL CHAHTA HAI (2001) and SHERSHAAH (2021). RRR is a "Tollywood" (Telugu-language) film directed by S. S. Rajamouli, who co-wrote the film with V. Vijayendra Prasad. The film stars Ram Charan and N. T. Rama Rao Jr. as the real-life Indian revolutionaries, Alluri Sitarama Raju (Charan) and Komaram Bheem (Rama Rao).  The film imagines their friendship and fight against the British Raj in the 1920s, exploring the undocumented period in their lives when both revolutionaries chose to go into obscurity before they began the fight for their country. Editing RRR In our discussion with RRR editor A. Sreekar Prasad, we talk about: Cutting in seventeen different languages Infusing the story into the songs Constantly turning over to VFX Keeping the target audience in mind Homebrew ADR The Credits Visit Extreme Music for all your production audio needs See the latest Special Offers for Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Editor - Mikkel E.G. Nielsen, ACE THE BANSHEES OF INISHERIN editor Mikkel E.G. Nielsen, ACE makes his return to The Rough Cut, having previously appeared on the show to talk about the film that would land him an Oscar® for Best Film Editing, SOUND OF METAL (2020).  In addition to the delicate challenge of filling the void left by the passing of editor Jon Gregory, director Martin McDonagh's frequent collaborator in the cutting room, Mikkel was also tasked with a crafting a film that walked a fine line between comedy and drama in a way that only an Irish film could. THE BANSHEES OF INISHERIN takes place in 1923, on the small fictional Irish isle of Inisherin during the Irish Civil War. Folk musician Colm Doherty abruptly begins ignoring his long-time friend and drinking buddy Pádraic Súilleabháin. Pádraic, though nice and well liked by the islanders, is too dull for Colm who wishes to spend the remainder of his life composing music and doing things that he will be remembered for. Pádraic's life is destabilized by the loss of one of his few friends; as Pádraic grows increasingly distressed at the rejection, Colm becomes more resistant to his old friend's attempts to speak to him. Colm eventually gives Pádraic an ultimatum: every time he bothers him or tries to talk with him, he will cut off one of his own left fingers with a pair of sheep shears. Editing THE BANSHEES OF INISHERIN In our discussion with THE BANSHEES OF INISHERIN editor Mikkel E.G. Nielsen, ACE we talk about: Barely talking to the director How less is more The award-worthy performance of Jenny the Donkey Adopting Barry Keoghan Going from Barbie Girl to Banshees The Credits Visit Extreme Music for all your production audio needs See the latest Special Offers for Avid Media Composer Hear Mikkel's interview about his work on SOUND OF METAL Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Black Adam - Editor, Mike Sale ACE BLACK ADAM editor, Mike Sale ACE is no stranger to the action comedy genre - emphasis on comedy.  With films to his credit such as; FORGETTING SARAH MARSHALL (2008), BRIDESMAIDS (2011), THE HANGOVER II (2011), WE’RE THE MILLERS (2013), CENTRAL INTELLIGENCE (2016), SKYSCRAPER (2018), SPENCER CONFIDENTIAL (2020) and RED NOTICE (2021), it should be obvious to anyone that Mike knows how to edit movies about cracking jokes and breaking bones.  But the latest entry in the DCEU marks Sale's first venture into comic book cinema.  Reunited for the fourth time with megastar Dwayne "The Rock" Johnson, Mike brought his signature editorial enthusiasm and aesthetic to BLACK ADAM. The story of BLACK ADAM begins in ancient Kahndaq, where a man named Teth Adam was bestowed the almighty powers of the gods. After using these powers for vengeance, he was imprisoned, becoming Black Adam. Nearly 5,000 years have passed, and Black Adam has gone from man to myth to legend. Now free, his unique form of justice, born out of rage, is challenged by modern-day heroes who form the Justice Society: Hawkman, Dr. Fate, Atom Smasher and Cyclone. In our discussion with BLACK ADAM editor, Mike Sale ACE, we talk about: How size matters in the editing suite Taking acting classes but staying away from actors Comedy, comedy, comedy, exposition, comedy Stephen King's secret weapon for editors Using "yacht rock" to make violence fun The Credits Visit Extreme Music for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Writer / Director - Matthew Gentile and Editor - Matt Allen Friends and fellow American Film Institute vets, Matthew Gentile and Matt Allen, turned their long walks in Los Feliz into a collaborative indie filmmaking venture that would become their first project together, AMERICAN MURDERER.  Prior to this film, Matthew Gentile was biding his time as a script reader and making a name for himself directing short films. Meanwhile, ACE Eric Zumbrunnen Fellowship winner Matt Allen was racking up experience as an assistant, working with Oscar®-nominated editor Matt Chesse on features such as CHRISTOPHER ROBIN (2018). Based on a true story, AMERICAN MURDERER follows Jason Derek Brown (Tom Pelphrey), a charismatic con man bankrolling his extravagant lifestyle through a series of scams. On Brown's trail: Lance Leising (Ryan Phillippe), a dogged FBI special agent determined to put Brown behind bars. When Brown's funds run low and his past catches up with him, he plots his most elaborate scheme yet, pitting himself against Leising in a deadly game of cat and mouse -- and becoming the most unlikely and elusive fugitive on the FBI's most-wanted list. Making AMERICAN MURDERER In our discussion with Matthew and Matt, we talk about: Finding your people in Hollywood Going from script reader to script writer The power of pre-vis for indie filmmaking Getting too big for your "shorts" Budgeting for kindness The Credits Visit Extreme Music and get the best production audio for your next project Check out all the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube Send me your feedback and ideas for future episodes

MAKING THE CUT AT PIXAR authors - Bobbie O'Steen and Bill Kinder MAKING THE CUT AT PIXAR co-authors Bill Kinder and Bobbie O’Steen are experts in the field of post production. Kinder was the founding Director of Editorial and Post Production at Pixar from 1996–2014 and O’Steen is a teacher and film historian, specializing in editing, as well as the author of The Invisible Cut and Cut to the Chase.  Together they have created a multimedia "book" that guides readers on a journey through every stage of production on an animated film; from storyboards to virtual cameras and final animation. With unprecedented access to the Pixar edit suite, this authoritative project highlights the central role film editors play in some of the most critically acclaimed and commercially successful movies of all time.  Featuring exclusive interviews with animation editors and other creative leads, MAKING THE CUT AT PIXAR includes nearly 90 minutes of video segments that include never-before-seen works in progress, deleted scenes and demonstrations; all of which shed light on how these beloved stories are crafted. The challenges and essential contributions of editors in animation have never before been examined in such depth and detail. In addition to exploring method and craft, this book provides important context for the editor in film history, the evolution of technology, and Pixar’s uniquely collaborative studio culture.  A must-read for students of digital filmmaking methods, filmmakers in all aspects of production, and fans of Pixar movies, this uniquely educational, historical, and entertaining book sheds light on how beloved stories are crafted from the perspective of crucial members of the filmmaking team. Writing "Making the Cut at Pixar" In our discussion with Bobbie and Bill, we talk about: The "big bang" of TOY STORY on the world of CGI Animation Editor Lee Unkrich introducing Avid editing into traditional animation How CGI "flipped the script" on the way editors impact the writing process The PIXAR origin story Sharpening your ear to make believable cuts The Credits Visit ExtremeMusic and get the best in production audio for your next project Get your own copy of MAKING THE CUT AT PIXAR Check out the super affordable Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube and see the amazing Timeline Tours

Director / Composer - Michael Giacchino and Editor - Jeffrey Ford ACE WEREWOLF BY NIGHT'S Michael Giacchino and Jeffrey Ford have had many occasions to work together in the past, but never quite like this.  While WEREWOLF BY NIGHT is Michael's first time in the director's chair for Marvel Studios, he's been the composer on five of their features, two of which were also cut by Marvel stalwart, Jeffrey Ford.  However, this special presentation for Disney + marks their first time collaborating as director and editor. WEREWOLF BY NIGHT begins after the death of legendary monster hunter, Ulysses Bloodstone.  Five experienced monster hunters are summoned by Ulysses' widow, Verussa, to Bloodstone Manor where they are instructed to participate in a competitive hunt to determine their new leader.  The object of their hunt is to retrieve the powerful Bloodstone from an unknown foe. MICHAEL GIACCHINO In addition to his work as composer on WEREWOLF BY NIGHT, Michael has also scored the Marvel features; DOCTOR STRANGE (2016), SPIDER-MAN: HOMECOMING (2017), SPIDER-MAN: FAR FROM HOME (2019), SPIDER-MAN: NO WAY HOME (2021) and THOR: LOVE AND THUNDER (2022).  Outside of the MCU, Michael's work can also be heard on; RATATOUILLE (2007) - for which he won an Oscar®, JURASSIC WORLD (2015) and Taika Waititi's upcoming feature, NEXT GOAL WINS (2023). JEFFREY FORD ACE While Jeff Ford's career has been punctuated by the excellent work he has done in smaller projects such as; ONE HOUR PHOTO (2002), BLOODWORTH (2010) and THE COMEY RULE (2020), it is his impressive and unmatched roster of eleven MCU films (plus THE FALCON AND THE WINTER SOLDIER and WEREWOLF BY NIGHT for Disney+) for which he is most well known. Making Marvel's Werewolf by Night In our discussion with Michael and Jeffrey, we talk about: Honoring the horror films of the past The advantages of having the editor on set Brad Bird getting inside of your head The Easter eggs of Fireball Island How to transpose for a flaming tuba The Credits Visit ExtremeMusic and get Michael Giacchino's music for you next project See this episode with Michael and Jeff on YouTube Hear Jeffrey Ford discuss AVENGERS: ENDGAME and SPIDER-MAN: NO WAY HOME Check out all the latest features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube and SEE editors Jeffrey Ford, ACE and Leigh Folsom-Boyd, ACE discuss SPIDER-MAN: NO WAY HOME

Amsterdam - Editor, Jay Cassidy ACE AMSTERDAM editor, Jay Cassidy ACE has cultivated an impressive career spanning almost fifty years and approximately sixty different projects.  Cassidy has worked extensively with directors such as David O. Russell and Sean Penn, as well as documentarian Davis Guggenheim.  Thrice-nominated for an Oscar for his work on Penn's INTO THE WILD (2008); as well as Russell's SILVER LININGS PLAYBOOK (2013) and AMERICAN HUSTLE (2014), Jay is not one to settle for status quo when it comes to making the most of technology in the editing room.  He continues to lean into new developments in hardware, software and color science for his craft. AMSTERDAM is a 2022 period/mystery/comedy/thriller film directed, written, and produced by David O. Russell. It stars an ensemble cast, led by Christian Bale, Margot Robbie, and John David Washington; featuring Chris Rock, Anya Taylor-Joy, Zoe Saldaña, Mike Myers, Rami Malek, and Robert De Niro.  The film follows three friends—a doctor, a nurse and a lawyer—who are caught in the mysterious murder of a U.S. senator in the 1930's.  Filmed in Los Angeles from January to March 2021, AMSTERDAM marks Russell's first film since JOY (2015). In our discussion with AMSTERDAM editor, Jay Cassidy ACE, we talk about: Balancing context setting and character development The benefits of monitoring in the DCI-P3 color space Working with actors in the cutting room Collaborating with Oscar®-caliber additional editors The world's most amazing microphone The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to AMSTERDAM additional editor, Alan Baumgarten ACE discuss his work on THE TRIAL OF THE CHICAGO SEVEN See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

The Woman King - Editor, Terilyn A. Shropshire ACE For over twenty years editor Terilyn A. Shropshire ACE and director Gina Prince-Bythewood have worked hand-in-hand to entertain and inspire audiences with films dating back to Gina's directorial debut, LOVE & BASKETBALL (2000).  Following their hit action film, THE OLD GUARD (2020), Teri and Gina have joined forces once again to create an epic tale about the Agojie, a fierce sisterhood of African warriors who fought for the kingdom of Dahomey in the 1800s; with skills and a ferocity unlike anything the world has ever seen. Inspired by true events, THE WOMAN KING follows the emotionally epic journey of General Nanisca (Oscar®-winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life. In our discussion with THE WOMAN KING editor, Terilyn A. Shropshire ACE, we talk about: Caring about characters to create better action "Getting it right" so studios will give the next generation a chance How to make an action movie "intimately epic" Staying away from temp score created by your composer Trusting your audience The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to Terilyn talk about her work on the film, THE OLD GUARD See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube

Director - Doug Liman Director Doug Liman sat down with us at his NYC office in 2011 to discuss his early beginnings in the film business as well as his thoughts on; film school, editing and "making it" in Hollywood. Doug Liman is known for directing the films; SWINGERS (1996), GO (1999), THE BOURNE IDENTITY (2002), MR. AND MRS. SMITH (2007), JUMPER (2008), FAIR GAME (2010), EDGE OF TOMORROW (2014), CHAOS WALKING (2021). Doug is currently in production on a remake of the Patrick Swayze classic, ROAD HOUSE.  A sequel to EDGE OF TOMORROW is also rumored to be in the works. In our discussion with director Doug Liman we talk about: Life before SWINGERS Whether anyone ever really "makes it" in Hollywood The merits of film school Knowing how to use an NLE vs knowing how to edit The Credits Visit ExtremeMusic for all your production audio needs LEAVE YOUR QUESTIONS FOR PRO EDITORS HERE Listen to editor Doc Crotzer ACE talk about his work on the Doug Liman film, CHAOS WALKING Hear SWINGERS and GO editor Stephen Mirrione ACE talk about cutting THE MIDNIGHT SKY EDGE OF TOMORROW editor, Laura Jennings on editing MALEFICENT: MISTRESS OF EVIL See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube