Art of the Cut

Today on Art of the Cut, we speak with editor Sarah Broshar, ACE, on editing Steven Spielberg’s Disclosure Day.Sarah has been on Art of the Cut several times, last for her editing of The Fablemans. She was nominated for an ACE Eddie for Spielberg’s The Post. Her credits also include Ready Player One, Pet Sematary, and West Side Story.This discussion will be about the rule when temping score that will be replaced by the legendary John Williams, how the length of the first assembly is a secret even to Spielberg himself, and Sarah’s keys to building suspense and enhancing emotion.If you want to read along this podcast and see images from the film, the trailer, and images on the post crew, check out the BorisFX blog siteborisfx.com/blog/aotc

Today on Art of the Cut we speak with editor Mark Strand, ACE, who is nominated for an ACE Eddie for Best Edited Drama Series for his work on HBO’s The Pitt.In addition to The Pitt, Mark’s work includes Shameless, Animal Kingdom, Rizzoli and Isles, Longmire, Nip/Tuck, and others.Our discussion includes how the show was not supposed to have any music, how geography matters to the editing, and the value of subverting audience expectations when cutting.If you want to read along with this interview and see exclusive images, like the floor plan for The Pitt and timeline screenshots of Mark's nominated episode and the pilot, visit BorisFX's blog site.BorisFX.com/blog/aotc

Today on Art of the Cut we speak with Affonso Gonçalves about editing Chloe Zhao’s Hamnet.Affonso has been on Art of the Cut previously for Don’t Worry, Darling,Affonso has been nominated for an Emmy and won an ACE Eddie for his work on the TV series True Detective. He was nominated for another ACE Eddie for his work on the documentary, The Velvet Underground. His other work includes the films Carol, The Lost Daughter, Beasts of the Southern Wild, and Winter’s Bone.Our conversation today will cover co-editing with Oscar-winning director Chloe Zhao, the power of elliptical editing, and the value of cutting to black.If you'd like to read along with this podcast, you can read a transcription and see photos, clips and the trailer at teh BorisFX blog site.Check out: borisfx.co/blog/aotc

Today on Art of the Cut we speak with Oscar-winning director, Laura Poitras, who also edited the documentary, Cover Up, with fellow editors, Amy Foote, ACE and Peter Bowman. Cover Up is available to watch now on Netflix.Laura’s documentaries have been nominated for three Oscars - for All the Beauty and the Bloodshed, My Country, My Country, and CitizenFour, which won the Oscar. She’s also been nominated for three Emmys, winning one, for CitizenFour, which also won a BAFTA.Amy’s been on Art of the Cut before for All the Beauty and Bloodshed, for which she was nominated for an ACE Eddie, and Hail Satan? Her other work includes Father Soldier Son, which won an Emmy for Best Documentary Editing, and Girls State, among many others.Peter Bowman is a Cinema Eye Honors nominee for Cover Up, along with his co-editors. His other work includes Girls State, How to Fix a Drug Scandal and USA versus Chapo: The Drug War Goes on Trial.Our conversation today will cover the importance of allowing breaths to allow the audience to feel and absorb, the ethics of documentary, and the difficult choices of killing one’s darlings to streamline the story.If you want to read along with this podcast and see exclusive photos and timeline screenshots, go to the BorisFX blogsite:borisfx.com/blog/aotc

Today on Art of the Cut we speak with the three editors of the Netflix TV series, Black Rabbit: Vikash Patel, Cedric Nairn-Smith, and Kyle Reiter, ACE.Vikash is an Emmy winner for his work on Top Chef, and an Emmy nominee for Ozark. His other work includes TV series Revolution and The Sympathizer.Cedric Nairn-Smith has been on Art of the Cut in the past for Daredevil: Born Again. His other work includes Moon Knight and The Boys.Kyle’s been nominated for four Emmys and four ACE Eddies for his work on Barry, Mr. and Mrs. Smith, and Atlanta.On this episode we discuss their approach to new material, the benefits of working with a director who’s also a showrunner, and tying the show’s tone with score. You can read along with this podcast on the BorisFX.com blog site:borisfx.com/blog/aotc