Art of the Cut

Today on Art of the Cut we discuss Olivia Wilde’s film, The Invite, with its two editors, Yorgos Mavropsaridis, ACE, and Anthony “Ant” Boys, ACE. Yorgos worked on the edit through the assembly cut then Ant took over for most of the rest of the edit. 
Yorgos has been on Art of the Cut before multiple times for Bugonia, Poor Things, and The Favourite. Yorgos is a Greek editor and graduate of the London Film School. He was nominated for Oscars, BAFTAs, and ACE Eddies, for Poor Things and The Favourite. His other films include Kinds of Kindness, Killing of the Sacred Deer, and The Lobster.
Ant has been nominated for a BAFTA for The Thick of It. He won an ACE Eddie for the TV series, Veep. He’s also edited The Marvelous Mrs. Maisel and The Great, among other work. 
Today on the show, a discussion of the rules of cutting comedy, how to talk about the performance of an actor who’s also the director, and the difficulty of editing overlapping dialogue.
If you're interested in reading along with this podcast and seeing the movie clips that were discussed, you can visit the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut, we speak with Greg Ng about editing the Kane Parson’s indie phenomenon, Backrooms.
Greg was last on Art of the Cut for LongLegs. Greg is the nominee and winner of numerous Canadian Screen Awards, Canadian Cinema Editors Awards, and Leo Awards. His other work includes The Monkey, Keeper, and the TV series, Bones of Crows.
We’ll be talking about how Backrooms was sculpted in the cutting room by structuring the time between the backrooms and the rest of the world, editing within a “Method cutting room,” and patiently basking in the mystery of a “Lovecraftian space.”
If you'd like to read along with this podcast and see cool images - like the cutting room decked out in the yellow wallpaper that covers the backrooms - visit the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut we speak with editor Chris Tonick about the feature-film, The Furious.
Chris has edited films like Kung Fu Games, Trigger Warning, and Black Friday. He was a producer on the Walter Murch documentary, Her Name Was Moviola. He’s also been part of the post teams of The Suicide Squad, Once Upon a Time in Hollywood, and John Wick 2.
On this episode, we're discussing - among other things - why the biggest job in this action movie wasn’t cutting the action, how the film’s most memorable moment came from trying out a left-field idea, and how fight scenes are like pop songs.
If you'd like to read along with this interview and see the trailer, clips, and exclusive images, check out the BorisFX blog site:
BorisFX.com/blog/aotc

Today on Art of the Cut, we speak with Terel Gibson, ACE about editing Boots Riley’s feature film, “I Love Boosters”. 
Terel has been on Art of the Cut before for his work on the TV series “Skeleton Crew.”  His other work includes Sorry to Bother You, Ready or Not, Hawkeye, and The Astronaut. 
If you're interested in reading along with today's podcast, check out the BorisFX blog site.
borisfx.com/blog/aotc

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 site
borisfx.com/blog/aotc