Art of the Cut

Today on Art of the Cut we speak with Oscar-nominee Peter Sciberras, ACE about editing director Steve McQueen’s film, Blitz. Peter was last on Art of the Cut for his work on Jane Campion’s Power of the Dog for which he was nominated for an Oscar and an ACE Eddie. His other films include The Rover, The King, and Foe, among many others. The discussion today is about - among other things - finding the best moment to intercut between the film’s two main characters, the importance of the opening scene's visceral impact, and collaborating with the sound team and composer, Hans Zimmer. You can read along with this interview and see clips, trailers and stills from the film at: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Sam Restivo and Oscar-winning editor, Claire Simpson about their editing of Ridley Scott’s Gladiator II. Claire and Sam have been on Art of the Cut previously for their work on Ridley’s Napoleon.  Claire won an ACE Eddie, a BAFTA and an Oscar for her editing of Best Picture winner, Platoon. She was nominated for another Oscar and an ACE Eddie and won a BAFTA for her editing of The Constant Gardener.  Along with Platoon, she’s edited two other Oscar Best Picture nominees: The Reader and Extremely Loud and Incredibly Close. In addition to Napoleon and Gladiator II, Sam was an additional editor on The Last Showman, The Last Duel, House of Gucci and Robin Hood.  The discussion today is about - among other things - re-organizing the film to find the best moment to reveal critical information, the difference between editing action and dialogue scenes, and the importance of experimentation. If you want to follow along with this podcast with a transcript and visual support including clips, trailers, and exclusive photos, check out the blog at: borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar nominee, Juliette Welfling about Jacques Audiard's film, Emilia Perez, currently on Netflix. Juliette's been on Art of the Cut before another of Audiard's films, The Sisters Brothers. Her other films include The Diving Bell and the Butterfly, for which she was nominated for an Oscar for Best Editing. She also edited the films: Rust and Bone, A Prophet, The Past, Free State of Jones and Ocean's Eight, The discussion today is about - among other things - structuring a film for character, not allowing an editor's cut to go too long, and working with a naked director - metaphorically. This podcast is also available transcribed as a blog with great visual support at: borisfx.com/blog/aotc

Today, we’re talking with Myron Kerstein, ACE about teaming up again with director Jon Chu to edit the cinematic adaptation of the Broadway hit, Wicked. Before that they collaborated on In the Heights. And before THAT on Crazy Rich Asians - not to mention Kerstein's work with Lin-Manuel Mirandad on tick, tick...BOOM! and we’ve talked about ALL of those films here on Art of the Cut. Kerstein’s previous work as an editor includes the feature films Going in Style, Garden State and Glee: The 3D Concert Movie. He’s also directed an episode of the Apple Plus TV series, Home Before Dark. To go DEEP into the editorial archives he was once an assistant editor on the iconic series, Sex and the City. The discussion today is about how his directing work affects his editing, how he treats dance numbers like any dramatic scene, and the fellow musical editor - and fellow Art of the Cut guest - that Myron turned to for advice. If you'd like to see lots of video featurettes and trailers and exclusive images, check out the blog of this interview at: borisfx.com/blog/aotc