Art of the Cut

Today on Art of the Cut, the Emmy-winning editors for Best Picture Editing for a Nonfiction Program: Sean Combs: The Reckoning, a four part doc-series from Netflix. Interviewed for the project were Charles Divak, ACE, Jeremy Siefer, ACE, Evan Wise, ACE, and Benjamin Kast, ACE. Unable to join in the call were editors Adam Goldstein, ACE, Jack Gravina, ACE, and Jonathan Miller. 
Charles Divak has been on Art of the Cut in the past for Chimp Crazy, for which he was nominated for an Emmy and won an ACE Eddie. His other work includes Full Frontal with Samantha Bee for which he was nominated for an Emmy, and The Circus: Inside the Greatest Political Show on Earth, for which he was nominated for an ACE Eddie.
Jeremy Siefer’s previous work includes HBO’s Storm Over Brooklyn, Netflix’s Blood Brothers: Malcolm X & Muhammad Ali, and Showtime’s Bronx Obama.
Evan Wise has been on Art of the Cut in the past for Chimp Crazy for which he was nominated for an Emmy and won an ACE Eddie. His other work includes Q: Into the Storm, for which he was nominated for an Emmy, and The Circus: Inside the Greatest Political Show on Earth for which he was nominated for an ACE Eddie.
Benjamin Kast is a previous ACE Eddie nominee for The Circus: Inside the Greatest Political Show on Earth. His other work includes the HBO docu-series, Monsters of God, and The Britney Griner Story.
Today’s discussion includes how the structure of the series evolved, the remote workflow, and the editorial strategies used to clarify a complex story.
If you'd like to read along with this podcast, check out the BorisFX blog site:
borisfx.com/blog/aotc

Today on Art of the Cut, the Emmy-winning editors for Best Picture Editing for a Limited Series: Kevin Ross, ACE and Max Koepke (KEP-key) and their HBO series, DTF St. Louis.
Kevin has been on Art of the Cut in the past for his work on Stranger Things for which he was an Emmy and ACE Eddie nominee. His other work includes Yellowjackets and Halt and Catch Fire, among others.
Max has also been on Art of the Cut before for his work on Winning Time: The Rise of the Lakers Dynasty and Chad Powers, among others.
Today’s discussion is of topics including manipulating the chronological story to improve the storytelling, working with a showrunner who is also the director and writers, and the value of editing a the same scene with two different intentions.
You can read along with this interview if you want and see images and the trailer from the series on the BorisFX.com blog site:
borisfx.com/blog/aotc

Today on Art of the Cut, Carsten KoorPANek discusses the editing of a film that is very unusual: Coyote versus Acme. Firstly, it’s a combination of live action and animation, and second, the studio decided not to release it after it was already completed. Only years later did another company swoop in and buy the distribution rights and decide to release the film that had been languishing in a vault for almost three years. 
Kurpanek has edited numerous films, including Rambo: Last Blood, Escape Plan 2: Hades, and an episode of the TV series Eastsiders. He also was a previs editor on Teenage Mutant Ninja Turtles: Out of the Shadows.
Today’s discussion includes topics like the benefits of “prevising” an entire movie, the iterative process that shapes a film, and the scene that was scripted for the middle of the film but ended up as the inciting incident.
You can read along with this podcast and see images from Carsten's edit suite and post production process as well as the trailer and a clip from the film on the borisfx blog site:
borisfx.com/blog/aotc

Today on Art of the Cut, editor Sam Restivo, talks about editing Ridley Scott’s “The Dog Stars” with co-editor, Oscar-winner, Claire Simpson.
Sam has been on Art of the Cut before for Gladiator 2 and Napoleon. He was also an additional editor on House of Gucci, The Last Duel, and The Greatest Showman.
Today’s discussion includes topics like the importance of setting up the movie with its meditative open, the careful use of aerial footage, and knowing when to let a powerful performance dictate the decision NOT to cut.
If you want to read along with this interview, a full transcript is available at the BorisFX blog site.
borisfx.com/blog/aotc

Today on Art of the Cut, editor John Axelrad, ACE, and additional editor, Taylor Bynum, discuss editing the summer blockbuster, The End of Oak Street.
John has been on Art of the Cut for a full decade with Lost City of Z, Antebellum, Ad Astra, and Chevalier. He also edited Spaceman and Papillon, among many others with editing credits going back almost 25 years.
Taylor was a first assistant promoted to additional editor on this film. He’s had  various jobs on the post teams of Mickey 17, Spaceman, Ant-Man and the Wasp: Quantumania, and many others.
Today’s discussion includes topics like how intercutting affects a film's rhythm, a classic cutting-room prank, and how a codebook can free the creative process.
If you'd like to read along with this podcast, and see the trailer, a timeline and exclusive stills, check out the BorisFX blog site at
borisfx.com/blog/aotc