Art of the Cut

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

Today on Art of the Cut, the editors of Spider-Man Brand New Day: Nat Sanders, ACE,  Harry Yoon, ACE, and Gina Sansom.
Nat has been on Art of the Cut before Just Mercy, and for Shang-Chi and the Legend of the Ten Rings, He was nominated for an Oscar and an ACE Eddie for editing Moonlight. He’s also edited If Beale Street Could Talk and Short Term 12, among others.
Harry has been on Art of the Cut before for Detroit, Beef, The Best of Enemies, The Fire Inside, Minari, Shang-Chi and the Legend of the Ten Rings, and Thunderbolts. Harry has an ACE Eddie win for Beef, and an ACE Eddie nomination for Minari. 
Gina is an Emmy nominee for the TV series Horace and Peter. Her other editing work includes Wonder Man, The Lowdown, and Our Flag Means Death, among others.
Today’s discussion is about how they collaborated to compress the opening montage, the value of audience screenings, and their workflow - starting with previs, through postvis and final vendor VFX.
You can read along with this podcast and see the trailer, clips and exclusive images at the BorisFX blog:
borisfx.com/blog/aotc

Today on Art of the Cut, editor Sierra Neal, ACE, discusses her Emmy-nominated work on the Netflix documentary Marty, Life is Short.
Sierra has been on Art of the Cut several times on the documentaries, Jim Henson: Idea Man, for which she received an Emmy, and for three other documentaries, Music by John Williams, Pavarotti, and The Beatles: Eight Days a Week. She was also an additional editor on the documentary Carlos, about Carlos Santana, which was also covered on Art of the Cut.
Today’s discussion is about the importance of structure and when things are revealed to the audience, the use of selects reels as a muse, and the importance of tone.
If you want to read along with this podcast and see images from Sierra's cutting room and from the documentary, please check out the BorisFX.com blogsite:
borisfx.com/blog/aotc

Today on Art of the Cut we speak with Angel Gamboa Bryant, ACE, who is nominated this year for Emmys for both The Upshaws – for Outstanding Picture Editing For A Multi-Camera Comedy Series - and Wanda Sykes Legacy – for Outstanding Picture Editing For Variety Programming.
Angel has been nominated for nine total Emmys and four ACE Eddies. Her other credits include the feature film Off the Rails, and TV series, Poppa’s House, History of the World Part II, Project Runway, Last Comic Standing, and many others. 
Today, we’ll be talking about the different types of comedy editing, the pressure of being on set, and the importance of the laugh track in stand-up and sit-com.
If you'd like to read along with this podcast and see photos and trailers from the Emmy nominated projects, visit the BorisFX blog site, which has great content for filmmakers of all types.
borisfx.com/blog/aotc

Today on Art of the Cut, Amy Duddleston, ACE and Keiko Deguchi, ACE, the Emmy-nominated editors of HBO’s Task.
Amy’s been on Art of the Cut in the past to discuss Mare of Easttown for which she received two Emmy nominations and won an ACE Eddie. Her other work includes the feature film, High Art, and TV series including The Umbrella Academy, American Gods, and Dexter.
Keiko’s work includes Love and War, We the Animals, and Hustle.
Today on the show, a discussion of pacing a show up without losing important character moments, regulating the emotion of a scene by choosing the specific temperature of a performance, and how a resolving chord in music offers a lesson in editing.
If you're interested in reading along with the podcast, check out the BorisFX blog site, where you can also see exclusive images, the trailer and a timeline from one of the episodes.
borisfx.com/blog/aotc