Episodes

  • Editors - Mags Arnold, Brenna Rangott and Matt Chessé ACE

    TRUE DETECTIVE: NIGHT COUNTRY editors Mags, Brenna and Matt had never worked together prior to uniting under showrunner Issa López for the fourth season of the HBO MAX anthology series, but you wouldn't know it from talking to them. The camaraderie between the three and the fun they have is in stark contrast to the dark and dangerous tone of their hit show.

    TRUE DETECTIVE: NIGHT COUNTRY is set in the fictional town of Ennis, Alaska and follows the investigation behind the mysterious disappearance, and even more mysterious discovery, of eight men from a research station. Leading the investigation are two law enforcement officers who share a troubled past, Detectives Liz Danvers (Jodie Foster) and Evangeline Navarro (Kali Reis).

    MATT "CHALKY" CHESSÉ, ACE

    Editor Matt Chessé, ACE often finds himself cutting with frequent collaborator, director Marc Forster. The pair have been working together since 2000 and have joined forces on such films as; MONSTER'S BALL (2001), FINDING NEVERLAND (2004), THE KITE RUNNER (2007), QUANTUM OF SOLACE (2008) and CHRISTOPHER ROBIN (2018). Matt also cut TRUE DETECTIVE: NIGHT COUNTRY star, Jodie Foster's film MONEY MONSTER (2016).

    MAGS ARNOLD

    Mags Arnold entered the film industry in 1993 as a trainee sound editor, crossing over to picture editing as second assistant editor in 1994. She was promoted to first assistant editor in 1995, working on films such as HIGH FIDELITY (2000) and CAPTAIN CORELLI’S MANDOLIN (2001), both under celebrated editor Mick Audsley. Following her work as an assistant, Mags has cut shows such as WITCHER (2023) and BIG LITTLE LIES (2019).

    BRENNA RANGOTT

    Brenna is the lone editor on "Night Country" who has past experience with showrunner Issa López, working on the series BRITTANIA (2019) together. Despite her cheerful demeanor, Bren could often be found in the cutting rooms of horror genre projects like STARVE ACRE (2023), FATHER OF FLIES (2021) and HOST (2020).

    Editing TRUE DETECTIVE: NIGHT COUNTRY

    In our discussion with TRUE DETECTIVE: NIGHT COUNTRY editors Mags Arnold, Brenna Rangott and Matt Chessé, ACE, we talk about:

    Fun with field trips When the editor is the scene stealer Keeping things light when the story's so dark Playing the paranormal against the practical How "clumping" is better than cross cutting The Credits

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  • Editors - Tia Nolan ACE and Kim Boritz

    ANYONE BUT YOU editors Tia Nolan, ACE and Kim Boritz reunite and meet cute once again for a film that has been an absolute box office smash. In an era where prevailing "wisdom" says that you can't get audiences out to the theaters for a romantic comedy, Tia and Kim's little 25M film has racked up over 200M worldwide!

    Loosely based on Shakespeare's Much Ado About Nothing, ANYONE BUT YOU was directed by Will Gluck, who co-wrote the screenplay with Ilana Wolpert. The film stars Glen Powell as Ben and Sydney Sweeney as Bea. Despite having an amazing first date, Bea and Ben's initial attraction quickly turns sour. When they unexpectedly find themselves at a destination wedding in Australia, the pair pretend to be the perfect couple to keep up appearances.

    TIA NOLAN, ACE

    A seasoned editor in the world of comedies, Tia Nolan has cut such films as FRIENDS WITH BENEFITS (2011), HOW TO BE SINGLE (2016), I FEEL PRETTY (2018) and THUNDERFORCE (2021). Tia's storytelling skills can also be found in the Marvel Cinematic Universe; as an editor on DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2021) and an additional editor on AVENGERS: INFINITY WAR (2019) and AVENGERS: ENDGAME (2022).

    KIM BORITZ

    Prior to editing alongside Tia on ANYONE BUT YOU (2023) and THUNDERFORCE (2021), Kim sharpened her skills as an assistant on CAPTAIN MARVEL (2019), THE MEG (2018) and ROGUE ONE: A STAR WARS STORY (2016).

    Editing ANYONE BUT YOU

    In our discussion with ANYONE BUT YOU editors Tia Nolan, ACE and Kim Boritz, we talk about:

    Surviving spiders Keeping your leads likeable through conflict Breaking the box office with a romcom Nailing down the needle drop The Richard Marks connection The Credits

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  • Editors - Lee Smith ACE and Tom Harrison-Read

    Although ARGYLLE editors Lee Smith ACE and Tom Harrison-Read have never worked together before, they do have a mutual connection in the Matthew Vaughn universe. It was Eddie Hamilton ACE, Smith's co-editor on Vaughn's X-MEN: FIRST CLASS (2011) who recommended that Tom, his former assistant on MISSION: IMPOSSIBLE - ROGUE NATION (2015), join the cutting crew for ARGYLLE. Alongside editor Col Goudie, Smith and Harrison-Read collaborated to realize Vaughn's vision for an action-comedy where the quips come as fast as the cuts.

    LEE SMITH, ACE

    Known for his work with directors such as Christopher Nolan, Sam Mendes and Peter Weir, Australia-native Lee Smith won an Oscar® and an ACE Eddie award for his work on Nolan's DUNKIRK (2018). Smith also received Oscar® nominations for his work on MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (2004) and THE DARK KNIGHT (2009).

    TOM HARRISON-READ

    Prior to his work on ARGYLLE, Tom also edited such features as TOMB RAIDER (2018), IN DARKNESS (2018) and CHILDREN OF THE CORN (2020). In addition to his work as an editor, Tom has worked as an assistant in the cutting rooms of such notable editors as Anne V. Coates, Kevin Tent ACE, Conrad Buff ACE, Eddie Hamilton ACE, Pietro Scalia ACE, Paul Machliss ACE, Chris Rouse ACE, Rick Pearson ACE and Matt Chessé ACE.

    Editing ARGYLLE

    In our discussion with ARGYLLE editors Lee Smith, ACE and Tom Harrison-Read, we talk about:

    Revisiting Chaos Cary Grant...action hero? How fun wins every time A tentative approach to head stomping Putting your wrong foot forward The Credits

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  • Editor - Laurent Sénéchal

    ANATOMY OF A FALL editor Laurent Senechal has been working as an editor since the early 2000s and is well known for his collaborations with Oscar® nominees Justine Triet and Arthur Harari, collaborating with Justine four times (three narrative features, one documentary) and Harari five times (two narrative features including Onoda, 10,000 Nights in the Jungle, opening Un Certain Regard in Cannes 2021, and three shorts) over the course of his career. For this latest film, Laurent had the pleasure of working with both Triet and Harari, with Justine as director and Arthur as co-writer.

    ANATOMY OF A FALL tells the story of a celebrated writer who is put on trial when her husband falls to his death from their secluded chalet. What starts as a murder investigation soon becomes a gripping journey into the depths of a destructive marriage. The film premiered at the Cannes Film Festival in 2023, where it won the Palme d’Or. Anatomy of a Fall also received Oscar® nominations for Best Picture, Best Director, Best Actress, and Best Original Screenplay, and won two Golden Globes for Best Non-English Language – Motion Picture and Best Screenplay.

    LAURENT SÉNÉCHAL

    After spending his entire school career in Africa (Congo, Chad, Benin), Laurent studied cinema at the University of Paris 8, where he met director Arthur Harari. In addition to his Academy Award® for Best Film Editing nomination, he has been nominated for the BAFTA Award and the ACE Eddie for Best Editing, won the European Film Award for Best Editor, and won the Los Angeles Film Critics Association Award for Best Editing. His other notable work includes Claire Burger’s comedy-drama film Real Love, which won Best Film in the Venice Days section at the 75th Venice International Film Festival in 2019, and Berni Goldblat’s drama film Wallay, which won the European Film Academy’s Young Audience Award in 2018.

    Editing ANATOMY OF A FALL

    In our discussion with ANATOMY OF A FALL editor Laurent Sénéchal, we talk about:

    Joining Justine Influencing the audience for unseen characters Turning a thriller into Kramer vs Kramer Putting a point of view on the flashbacks VFX for vomit The Credits

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  • Editors - Joaquin Elizondo and Chris Cavanagh

    The GRISELDA editing team of Joaquin Elizondo and Chris Cavanagh didn't have an easy time finding work when they first made their way to Hollywood, but through a mentor/mentee relationship built on a foundation of trust, they would eventually join forces on another drug war-themed Netflix show, NARCOS: MEXICO. That NARCOS crew would go on to form the foundation of the team behind GRISELDA.

    GRISELDA is directed by Andrés Baiz, produced by Eric Newman and Sofía Vergara, and written by Doug Miro and Ingrid Escajeda. It stars Vergara as Griselda Blanco, a notorious Colombian drug lord. The story follows her rise in the Miami drug scene and her pursuit of power and wealth.

    JOAQUIN ELIZONDO

    Joaquin Elizondo has over 20 years of experience as an editor. He currently works in the world of scripted television shows in Hollywood. His most recent editing credits prior to Griselda include Narcos: Mexico (Netflix), The Hot Zone: Anthrax (NatGeo) and Dark Winds (AMC). Before arriving in Los Angeles, Joaquin worked in unscripted television for several years in New York City. There he edited content for HBO Sports, NBC, Telemundo, and was the lead editor on Bravo’s late-night talk show Watch What Happens Live With Andy Cohen. Joaquin majored in Film & Video Studies at the University of Michigan. He grew up in the San Diego-Tijuana border region where he began his career cutting a wide range of projects. They include news, promos, commercials, and documentaries.

    CHRIS CAVANAGH

    In the last few years, Chris has been pursuing his passion for editing scripted stories. Prior to his work on Griselda, Chris recently served as an editor on NARCOS: MEXICO Season 3 for NETFLIX. Before that, he was editing as an assistant editor and mentored by top-shelf editors on COBRA KAI for NETFLIX, STAR TREK for PARAMOUNT+, and DARK WINDS for AMC. Before moving to LA to work in scripted entertainment, Chris edited dozens of unscripted TV shows, documentaries, and indie films in NYC. When he's not in a cutting room, Chris is playing with his two kids, cooking dinner with his wife, or attempting to complete one of the 7,942 daily tasks required to exist as both a professional and a parent in the 21st century.

    Editing Griselda

    In our discussion with the GRISELDA editing team, we talk about:

    Not making NARCOS all over again Letting go of the facts to keep things fresh Real-time language translation before its time Making the most of mentorship Doing the director's cut during the assembly The Credits

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  • Editor - Greg O'Bryant

    MR. AND MRS. SMITH editor, Greg O'Bryant was not just joining the biggest project of his career with this new Amazon series, but he would also be the "new guy" on a well-oiled machine of storytellers from the tv series, ATLANTA. Taking the chance really paid off for Greg. Not only did he get to try his hand at action, but he got to have his name in the credits twice (Greg also co-produced)!

    Turning the premise of the 2005 feature film inside out, here John and Jane are two strangers-turned-partners who carry out their spy-like duties under the cover of being married software engineers. Taking their orders from an unseen task master they call "HiHi", the two learn the ropes of being "Smiths" while learning to love, and somewhat trust, one another.

    GREG O'BRYANT

    Prior to working on MR. AND MRS. SMITH, Greg first began his partnership with writer/director Scott Z. Burns on the latter's political drama, THE REPORT (2019). Greg would also edit an episode of the series, THE LOUDEST VOICE (2019) that Burns helmed. Most recently, the two collaborated on the Apple TV+ series, EXTRAPOLATIONS (2023). In addition to his work with Scott Z. Burns, Greg is also a frequent collaborator with show runner, Nick Antosca. Their partnership first began on CHANNEL ZERO, a SyFy Channel anthology series based on the popular Internet "Creepypastas" Candle Cove, The No-End House and Butcher's Block. Subsequent projects with Antosca would include Hulu's original series, THE ACT, as well as the Netflix series, BRAND NEW CHERRY FLAVOR. Greg also edited the tv series, THE GIRLFRIEND EXPERIENCE, adapted from the film by Steven Soderbergh.

    Editing Mr. and Mrs. Smith

    In our discussion with MR. AND MRS. SMITH editor, Greg O'Bryant, we talk about:

    Using score as your "tonal buoy" Turning the tables on the 2005 film of the same name Making a relationship sandwich How film is a director's medium where tv is a writer's medium Where a grumpy p.a. can influence the work The Credits

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    Hear Greg discuss his work on the Netflix series, BRAND NEW CHERRY FLAVOR

    Listen to Greg detail his experience cutting the Apple TV+ series, EXTRAPOLATIONS

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  • Tom Costantino ACE, Blair Clark, Allie Mitchell and Justin Ulrich

    Most of the VFX and editing team from Seth MacFarlane's Peacock original series TED should have known what they were in for when they signed on for the show. Editor and assistant editor Tom Costantino ACE and Justin Ulrich had already been across the universe with MacFarlane for his cult sci-fi favorite, THE ORVILLE. And VFX and puppeteering vet Blair Clark was the guy behind the bear for the TED feature films, as well as VFX Super for Seth's A MILLION WAYS TO DIE IN THE WEST (2014). Newcomer Allie Mitchell was not only taking her first tour of duty with Seth, but she was also learning VXF and puppeteering on the job, relying on her background in dance and theater. Together, the four brought a feature-level quality to Ted's reintroduction on the small screen.

    Set in 1993, in between the opening sequence in the feature film, TED (2012), the series depicts the early life of a sentient teddy bear toy named Ted, as he lives with John Bennett and his family in Framingham, Massachusetts. In addition to John and Ted, the Bennett household includes John's father Matty, his mother Susan, and his cousin, Blaire, who is living with them while attending a college nearby. Ted is soon forced to attend school with John, getting him bullied and in all sorts of trouble.

    TOM COSTANTINO ACE

    Editor Tom Costantino is known for his work on; 48 HOURS (2004-15), SCARRED (2007), CSI: MIAMI (2010-12), AMERICAN NINJA WARRIOR (2014-15), 9-1-1 (2018-19) and THE ORVILLE (2017-22).

    BLAIR CLARK

    VFX Supervisor and puppeteer, Blair Clark is known for his work on Seth MacFarlane's feature films, as well as HELLBOY (2004), THE SPIDERWICK CHRONICLES (2008) and CLIFFORD THE BIG RED DOG (2021).

    ALLIE MITCHELL

    Allie Mitchell is a singer/actor/dancer/silk aerialist/writer/yogi/vegan/brunette/dog-loving native of Austin, TX. Prior to plying her significant performance background in the world of VFX and puppeteering, Allie earned a BFA in Contemporary Musical Theatre and Film.

    JUSTIN ULRICH

    Aside from being the "secret VFX weapon" in the cutting room, Justin's assistant editing duties can be seen on HOUSE OF CARDS (2018), NOS4A2: GHOST (2019) and THE ORVILLE (2022).

    Editing Ted

    In our discussion with the VFX and editing team from the series Ted, we talk about:

    Looking Back to the Features Stuffies and stunt stuffies Chrome balls, laser pointers and the trouble with eyelines Being a contortionist on set and in the cutting room How Stu the Key Grip saved the day The Credits

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  • Editor - Michelle Tesoro, ACE

    MAESTRO editor Michelle Tesoro is no stranger to cutting movies directed by actors. In fact, it was while she was working with actor Sean Penn on his film FLAG DAY, that Penn turned to Michelle and told her that he just texted friend Bradley Cooper that she was a "goddess in the cutting room". Clearly that pitch worked as Cooper entrusted Michelle with the editorial duties for his much-anticipated biopic.

    MAESTRO chronicles the fearless love story and complicated lifelong relationship between music legend Leonard Bernstein and his wife Felicia Montealegre Cohn Bernstein.

    Michelle Tesoro, ACE

    Michelle Tesoro's most notable works include Netflix's Emmy-winning limited series THE QUEEN'S GAMBIT (2020), directed by Academy Award-nominated Scott Frank, for which she won the 2021 Primetime Emmy for Outstanding Single-Camera Picture Editing for a Limited or Anthology Series or Movie.

    Tesoro's versatile slate also includes Ava Duvernay’s WHEN THEY SEE US (2019), Sean Penn's FLAG DAY (2021), Focus Features' biography of Supreme Court Justice Ruth Bader Ginsburg ON THE BASIS OF SEX (2018), and Netflix's Emmy-nominated series by Scott Frank, GODLESS (2017).

    Tesoro was born and raised in Chicago, Illinois. She graduated from Whitney M. Young High School, studied at the University of Illinois at Urbana-Champaign, and graduated from NYU’s Tisch School of the Arts. Michelle currently resides in Los Angeles, California and is an active member of the American Cinema Editors (ACE). She is Co-Chair of ACE’s International Relations Committee for which she co-founded ACE’s International Partnership Program. She also sits on the 2023-2025 Board of TEMPO, a federation of international film editors associations.

    Editing MAESTRO

    In our discussion with MAESTRO editor Michelle Tesoro, we talk about:

    Putting together a proof of concept When Sean Penn texts his friends about you Taking notes from Spielberg and Scorsese Quietly doing sound design Who the real Maestro is The Credits

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    Hear Michelle talk about her work on the Netflix hit series, THE QUEEN'S GAMBIT

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  • Editor - Jon Poll

    THE COLOR PURPLE editor Jon Poll was sure they had the wrong guy when his agent told him they were interested in having him come aboard as the editor. He even joked they should probably call WHIPLASH and LA LA LAND editor, Tom Cross ACE. While musicals were not necessarily a big part of Jon's background coming into the project, no one who sees THE COLOR PURPLE would ever question his prowess for interweaving a powerful narrative with incredible music.

    THE COLOR PURPLE is a story of love and resilience, based on the novel and the Broadway musical of the same name. It is a decades-spanning tale of one woman's journey to independence. Torn apart from her sister and her children, Celie faces many hardships in life, including an abusive husband. With support from a sultry singer named Shug Avery, as well as her stand-her-ground stepdaughter, Celie ultimately finds extraordinary strength in the unbreakable bonds of a new kind of sisterhood.

    Jon Poll

    Jon has cut a wide array of films, from such acclaimed features as Bombshell, The Greatest Showman and 2022’s Father of the Bride, to box office hits like Austin Powers: The Spy Who Shagged Me and Goldmember, Meet the Parents and its sequel, and Scary Movie 3. Poll made his feature directorial debut with the comedy drama Charlie Bartlett.

    Poll and director Jay Roach are frequent collaborators on many projects. In addition to the Austin Powers sequels, Poll co-produced, edited and directed second unit on Meet the Fockers, executive produced and edited The Campaign, executive produced, edited and directed the title sequence for Dinner for Schmucks, and edited Mystery, Alaska. Poll also executive produced Judd Apatow’s The 40-Year-Old Virgin. His editing credits include the films Forever Young and Death to Smoochy. Poll directed, edited and co-produced on the HBO series The Brink as well.

    A graduate of USC’s Cinema school with a degree in film production, Poll resides in Los Angeles with Julia, his charming and lovely wife of 400 years.

    Editing THE COLOR PURPLE

    In our discussion with THE COLOR PURPLE editor Jon Poll, we talk about:

    The reason to remake a movie Paging Tom Cross Making a musical vs a drama with music Watching the movie before making a single cut Getting real dancers to do the dance foley The Credits

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  • Editor - Hilda Rasula, ACE

    When AMERICAN FICTION editor Hilda Rasula ACE first got the script from her agent, the director attached to it seemed more than a little familiar. It turns out that Cord Jefferson, Hilda's casual acquaintance from the backyard barbecue circuit, would be helming his first feature. Together the pair would create a movie that's one-part social satire, one-part family dramedy and wholly entertaining.

    AMERICAN FICTION follows frustrated novelist-professor, Thelonius "Monk" Ellison (Jeffrey Wright), who's fed up with an establishment that profits from Black entertainment that relies on tired and offensive tropes. To prove his point, he uses a pen name to write an outlandish Black book of his own, a book that propels him to the heart of hypocrisy and the madness he claims to disdain.

    Hilda Rasula, ACE

    When she's not helping first-time directors launch their promising careers, editor Hilda Rasula is cutting films like VENGEANCE (2022) and MOVING ON (2022), as well as tv series such as OUR FLAG MEANS DEATH (2022), SMILF (2019) and TRANSPARENT (2014-17).

    Editing American Fiction

    In our discussion with AMERICAN FICTION editor Hilda Rasula, we talk about:

    Trojan horse storytelling Staying away from the dark indigo blue territory Hilda and the traveling rug How it's tricky temping with jazz That first act...why is it always the first act The Credits

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  • Editor - Yorgos Mavropsaridis

    POOR THINGS editor Yorgos Mavropsaridis was already an established editor when he first started collaborating with a young director named Yorgos Lanthimos. At that point Lanthimos was only known for doing commercials, but by their third feature together, 2009's DOGTOOTH, the pair began to be recognized as a formidable storytelling team. Over a decade later, they would finally take on what Yorgos Mavropsaridis considers their first true studio film, Searchlight Pictures' POOR THINGS.

    POOR THINGS tells the story of a young woman, Bella Baxter, who was brought back to life by her guardian, the scientist Dr. Godwin Baxter. Initially naïve, Bella was eager to learn about the world around her, albeit under Baxter's protection. Wanting to see more, she ran off with Duncan Wedderburn, a slick and debauched lawyer, and traveled across continents. Free from the prejudices of her times, Bella demanded equality and liberation.

    Yorgos Mavropsaridis

    Yorgos Mavropsaridis is most known for his work with POOR THINGS director, Yorgos Lanthimos, including Dogtooth (2009), The Lobster (2015) and The Favourite (2018), for which Yorgos received an Oscar nomination and an ACE Eddie award.

    Editing Poor Things

    In our discussion with POOR THINGS editor Yorgos Mavropsaridis, we talk about:

    Polishing up the Ektachrome Making a studio film for the first time Feeling the atmosphere in the cutting room Going all "Godard" with ADR Ways to make the telling of the tale interesting The Credits

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  • Editor - Sam Restivo

    NAPOLEON editor Sam Restivo credits the dutiful mentoring of editor Claire Simpson for how he found himself co-chairing the editorial duties for Ridley Scott's latest film. Sam first worked with Claire as her assistant editor on the tv series RAISED BY WOLVES (2020). From there, Claire brought Sam as her assistant to his first Ridley Scott feature, THE LAST DUEL (2021). He would assist Claire one more time for Scott's HOUSE OF GUCCI (2021) before getting the promotion for NAPOLEON.

    Ridley Scott's NAPOLEON is a look at the military commander's origins and his swift, ruthless climb to emperor, viewed through the prism of his addictive and often volatile relationship with his wife and one true love, Josephine.

    SAM RESTIVO

    Aside from his work with Claire Simpson and Ridley Scott, Sam has worked as an assistant editor on TV series like THE WALKING DEAD (2014) and BETTER CALL SAUL (2015) as well as being an additional editor for features such as THE GREATEST SHOWMAN (2017) and ROBIN HOOD (2018).

    Editing NAPOLEON

    In our discussion with NAPOLEON editor Sam Restivo, we talk about:

    Going entertainment first, history lesson second Holding off on the V.O. until the end How sometimes subtitles are just funnier Turning 72, 48 and 36 frames into 24 The legend of Claire Simpson The Credits

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  • Editor - Mark Yoshikawa, ACE

    Mark Yoshikawa, ACE made his return to the HUNGER GAMES universe after an eight-year break to cut the prequel, THE BALLAD OF SONGBIRDS & SNAKES. Mark's first experience cutting on the franchise, and for director Francis Lawrence, was on the two-part MOCKINGJAY films. THE HUNGER GAMES: CATCHING FIRE editor Alan E. Bell ACE reached out to his old friend Mark to enlist his help with the increased workload of the two-part conclusion the Katniss Everdeen storyline.

    The Ballad of Songbirds & Snakes is the fifth film in the Hunger Games franchise and is set sixty-four years before the events of the first film. It explores the events that eventually lead a young Coriolanus Snow down the path to becoming the tyrannical leader of Panem. With the tenth annual Hunger Games fast approaching, the young Snow becomes alarmed when he's assigned to mentor Lucy Gray Baird from District 12. Uniting their instincts for showmanship and political savvy, they race against time to ultimately reveal who's a songbird and who's a snake.

    MARK YOSHIKAWA ACE

    Aside from his work with director Francis Lawrence on the Hunger Games franchise, the two also collaborated on the feature SLUMBERLAND (2022) as well as episodes of the TV series SEE (2019). Mark has also cut several films for director Terrence Malick, including: THE NEW WORLD (2005), THE TREE OF LIFE (2011), TO THE WONDER (2012) and KNIGHT OF CUPS (2018). Mark has also worked on TV series such as SUCCESSION (2018) and WESTWORLD (2016).

    Editing THE HUNGER GAMES: THE BALLAD OF SONGBIRDS & SNAKES

    In our discussion with "HUNGER GAMES" editor Mark Yoshikawa ACE, we talk about:

    Keeping pace with a big movie Going back to the book for inner monologues Taking a page on projectors from Alan Bell Bringing back the birds from Mockingjay Coming into a scene later and leaving earlier The Credits

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    Get someone you love jewelry from Hunger Games editor turned silversmith, Alan E. Bell.

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  • Editor - Tom Eagles ACE

    NEXT GOAL WINS editor Tom Eagles ACE first made a name for himself with his ACE Eddie-winning work on JOJO RABBIT (2019). That film would also get Tom an Oscar® nomination for Best Film Editing. With NEXT GOAL WINS, Eagles once again is found in the cutting room of a Taika Waititi film. Tom joined editors Nat Sanders ACE, Nick Monsour and Yana Gorskaya ACE for the "sports comedy with a heart".

    Based on the 2014 documentary of the same name by Mike Brett and Steve Jamison, NEXT GOAL WINS is about Dutch American coach, Thomas Rongen's efforts to lead the American Samoa national football team, considered one of the weakest football teams in the world, to qualification for the 2014 FIFA World Cup. The storyline also includes fa'afafine player Jaiyah Saelua, who was the first transgender player ever to compete in a World Cup game.

    TOM EAGLES ACE

    Back in his home country of New Zealand, Tom Eagles built his career on a foundation of work with director Taika Waititi; including films such as WHAT WE DO IN THE SHADOWS (2014), HUNT FOR THE WILDERPEOPLE (2016), the TV series WELLINGTON PARANORMAL (2018) and their critically acclaimed film, JOJO RABBIT (2019). Looking to expand his career and broaden the scope of the work he could choose from, Tom moved his family from New Zealand to Los Angeles. Aside from his work with Waititi, Eagles has also worked with director Jeymes "The Bullitts" Samuel on his first feature, THEY HARDER THEY FALL (2022), and their upcoming effort, THE BOOK OF CLARENCE (2024).

    Editing Next Goal Wins

    In our discussion with NEXT GOAL WINS editor Tom Eagles, we talk about:

    Adding a character to give the film character Coming and going on the cutting crew Needle dropping Dolly The dailies delights of improv Taika Waititi - couch surfer The Credits

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  • Editor - Thelma Schoonmaker, ACE

    KILLERS OF THE FLOWER MOON editor Thelma Schoonmaker ACE has literally had a front row seat to some of the most celebrated films of the past four decades, working as director Martin Scorsese's editor and filmmaking partner. The pair reunite once again for KILLERS OF THE FLOWER MOON, starring Leonardo DiCaprio and Robert DeNiro, two mainstays of Scorsese's acting troupe, as well as Lily Gladstone, who delivers a breakout performance as Mollie Kyle.

    KILLERS OF THE FLOWER MOON was directed by Martin Scorsese from a screenplay he co-wrote with Eric Roth, based on the 2017 non-fiction book of the same name by David Grann. Set in 1920's Oklahoma, it focuses on a series of murders of Osage members and relations in the Osage Nation after oil was being produced on tribal land. Tribal members had retained mineral rights on their reservation, and whites sought to gain their wealth.

    THELMA SCHOONMAKER ACE

    Thelma Schoonmaker is a three-time Academy Award winner, having worked for more than 40 years alongside filmmaker Martin Scorsese. Schoonmaker has been honored with Oscars, most recently in 2007 for her work on Scorsese’s “The Departed,” and in 2004 for his film “The Aviator.” In 1981, she won both the Academy Award and BAFTA Award for editing Scorsese’s “Raging Bull.” Subsequently, she worked on all of Scorsese’s features: “The King of Comedy,” “After Hours,” “The Color of Money,” “The Last Temptation of Christ,” the “Life Lessons” segment from “New York Stories,” “Goodfellas” (which earned her another BAFTA Award, as well as an Oscar nomination), “Cape Fear,” “The Age of Innocence,” “Casino,” “Kundun,” “Bringing Out the Dead,” “Gangs of New York” (for which she received the ACE Eddie Award and was nominated for an Academy Award), “Shutter Island,” “Hugo” (for which she received another Oscar nomination), “The Wolf of Wall Street,” and “Silence.”

    In addition to her film editing, Schoonmaker works tirelessly to promote the films and writings of her late husband, the director Michael Powell, among them “The Red Shoes,” “Black Narcissus,” “The Life and Death of Colonel Blimp,” “I Know Where I’m Going,” “A Matter of Life and Death,” “Tales of Hoffmann,” and “Peeping Tom.”

    Editing Killers of the Flower Moon

    In our discussion with KILLERS OF THE FLOWER MOON editor Thelma Schoonmaker ACE, we talk about:

    Leaning into the love story When to cut to DiCaprio or DeNiro Scorsese's shooting style The structural perfection of Goodfellas Twelve cuts to completion The Credits

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  • Director - Alexander Payne and Editor - Kevin Tent ACE

    Longtime friends and collaborators, Alexander Payne and Kevin Tent, reunite once more for their eighth feature film, THE HOLDOVERS!

    THE HOLDOVERS tells the tale of Paul Hunham (Paul Giamatti), a curmudgeonly instructor at a New England prep school who remains on campus during Christmas break to babysit a handful of students with nowhere to go. He soon forms an unlikely bond with a brainy but damaged troublemaker, and also with the school's head cook, a woman who just lost a son in the Vietnam War.

    Alexander Payne

    Director, producer and screenwriter Alexander Payne attended Stanford University, where he majored in Spanish and History. He then went on to study film at UCLA Film School. His university thesis film was screened at the Sundance film festival, which led to him being backed by Miramax to write and direct CITIZEN RUTH (1996).

    Kevin Tent ACE

    Editor Kevin Tent has the distinction of having edited all of Payne's feature films (as well as a TV pilot); including films such as CITIZEN RUTH (1996), ELECTION (1999), SIDEWAYS (2004) and THE DESCENDANTS (2011) for which Tent received an Oscar nomination. Kevin is currently serving as president of the American Cinema Editors.

    Making The Holdovers

    In our discussion with Alexander Payne and Kevin Tent ACE from THE HOLDOVERS, we talk about:

    The benefits of being an amiable, affordable, and available editor Demonstrating your abilities to not edit Coming out of the Criterion closet Giving a hall pass to laugh early in the film How it takes an audience to complete a film The Credits

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  • Editors – Dana E. Glauberman ACE, James D. Wilcox ACE and Rosanne Tan ACE

    AHSOKA editors Dana E. Glauberman ACE, James D. Wilcox ACE and Rosanne Tan ACE worked together for the very first time to help bring to life the story of Anakin Skywalker's former apprentice. Although none of the three describe themselves as experts on the Star Wars universe, it's their gifts as storytellers that led Dave Filoni to trust them with his latest entry in the saga.

    Set after the fall of the Empire, AHSOKA follows the former Jedi knight, Ahsoka Tano, as she investigates an emerging threat to a vulnerable galaxy.

    DANA E. GLAUBERMAN ACE

    When she's not lending her editorial talents to the Star Wars universe, Dana is cutting films like GHOSTBUSTERS: AFTERLIFE, CREED II, UP IN THE AIR and JUNO. AHSOKA marks Dana's third tour of duty for Lucasfilm, having been part of the editorial crew for THE MANDALORIAN - S1 and THE BOOK OF BOBA FETT.

    JAMES D. WILCOX ACE

    A frequent collaborator with director Ron Howard, James cut Howard's adaptation of the book HILLBILLY ELEGY as well as his documentary THIRTEEN LIVES. Unlike most feature editors who started their journey in post as an assistant, James actually started out as a full-time editor working in news and sports. This is James' third appearance on The Rough Cut.

    ROSANNE TAN ACE

    Like Dana, Rosanne Tan ACE makes her 4th appearance on The Rough Cut! Prior to AHSOKA, Rosanne was making her mark with another Disney studio, cutting Marvel's HAWKEYE and THE FALCON AND THE WINTER SOLDIER. Before her tour of duty with Disney, Rosanne was editing tv shows that featured action, intrigue and high drama; notably MR. ROBOT and HOMECOMING.

    Editing Ahsoka

    In our discussion with the AHSOKA editors, we talk about:

    Cribbing Kurosawa's Kagemusha Representing the audience in the cutting room Pressing pause on Pittsburgh in VFX meetings Dialing up Dune for the sound design Ahsoka Tano and the Shawshank Redemption The Credits

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    Editor Dana E. Glauberman ACE on cutting Ghostbusters: Afterlife and The Book of Boba Fett

    Hear James D. Wilcox ACE talk about cutting Hillbilly Elegy and Thirteen Lives

    Rosanne Tan ACE on editing Homecoming, The Falcon and the Winter Soldier and Hawkeye

    Listen to parts one and two from the Season One interview with Dana and The Mandalorian editors

    Check out the Season Two interview with the editors from The Mandalorian

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  • Editors - Varun Viswanath ACE and Patrick Tuck

    The RESERVATION DOGS editing team of Varun Viswanath ACE and Patrick Tuck have spent the last two of the show's three seasons, working together to close the loop on multiple, multi-generational stories. Considering that the focus was just on the four teens when Varun started the journey with the Season One pilot, this was no small feat. There was no roadmap as to how their lives and their stories would interconnect with the generations of "Rez Dogs" that came before.

    RESERVATION DOGS follows the exploits of four Indigenous teenagers in rural Oklahoma who steal, rob and save in order to get to the exotic, mysterious and faraway land of California. To succeed, they will have to save enough money, outmaneuver the methheads at the junkyard on the edge of town and survive a turf war against a much tougher rival gang.

    VARUN VISWANATH ACE

    Varun is a Film & TV Editor based in Los Angeles, CA. He is a member of the American Cinema Editors and the Motion Pictures Editors Guild, and has an MFA in Film Editing from The American Film Institute Conservatory. His work on What We Do In The Shadows was nominated for Best Edited Comedy Series at the 2021 ACE Eddie awards.

    PATRICK TUCK

    Patrick Tuck is a versatile editor who most recently edited FX’s Dave and Mo for Netflix. Getting his start in the commercial and documentary world, Patrick prides himself on his talent for balancing genres and styles to create unique tones and rhythms, as well as his ability to find solutions for the toughest creative puzzles.

    Editing Reservation Dogs

    In our discussion with the RESERVATION DOGS editing team, we talk about:

    Overwriting the story by a half, so you can cut it down by a third Taking tonal adventures Stringing together "joke pods" Drug tripping just enough to earn a visit from the aliens The Quentin connection The Credits

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    Hear Varun Viswanath ACE discuss editing the series BLINDSPOTTING

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  • Editor - Scott Morris

    THE CREATOR editor Scott Morris not only already had experience in the sci-fi genre, having worked on AD ASTRA (2019), but also experience working with co-editor Hank Corwin ACE. Alongside Oscar®-winning editor Joe Walker ACE, the three helped realize Gareth Edwards' vision of a world where AI and humanity are at war; each racing to deploy their own solution to eliminate the threat of the another.

    THE CREATOR...As a future war between the human race and artificial intelligence rages on, ex-special forces agent Joshua is recruited to hunt down and kill the Creator, the elusive architect of advanced AI. The Creator has developed a mysterious weapon that has the power to end the war and all of mankind. As Joshua and his team of elite operatives venture into enemy-occupied territory, they soon discover the world-ending weapon is actually an AI in the form of a young child.

    SCOTT MORRIS

    THE CREATOR sees Scott collaborating once again with editor Hank Corwin ACE. Scott co-edited Adam McKay's DON'T LOOK UP (2021) with Hank and also assisted him on an episode of WINNING TIME: THE RISE OF THE LAKERS DYNASTY (2022). In addition to his work with Hank, Scott has worked as an assistant on THE LOST CITY OF Z (2016) and PAPILLON (2017), and edited AD ASTRA (2019) with editor Jon Axelrad ACE.

    Editing The Creator

    In our discussion with THE CREATOR editor Scott Morris, we talk about:

    Making the handoff from one post crew to another Shooting sci-fi with an indie doc approach Exploring the themes of man v machine Editing room inspiration through better decoration Doing your homework on the director The Credits

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  • Editors - Kevin D. Ross ACE, Eric Litman, Adam Pearson and Daniel Williams

    The ONE PIECE editing team knew full well, going into this live-action adaptation of the beloved manga series, that they had a huge challenge on their hands. Expectations were high and previous attempts to adapt other manga series had left those fanbases disappointed, to say the least. Fortunately, they had a talented crew around the globe, plus ample time and resources from Netflix to finally crack the code of making a hit series that would satisfy the die-hard manga fandom.

    ONE PIECE follows the adventures of the Straw Hat Pirates as they explore the dangerous oceans, lands, and beyond in search of the "One Piece", a fabled treasure that will make their captain, Monkey D. Luffy, "King of the Pirates". But the Marines are on their ship's tail, and they are not the only crew searching for the One Piece. Armed with skills and an unbreakable friendship, the Straw Hats are ready for the journey and even more ready to fight for their dreams together. Adapted from the legendary manga series from author Eiichiro Oda, ONE PIECE was developed as a live action series for Netflix by Matt Owens and Steven Maeda under the watchful eye of Oda.

    KEVIN D. ROSS, ACE

    Raised in the heartland of America, Kevin Ross grew up a typical bored youth in the small town of Farmington, Missouri. A product of a Norman Rockwell-like family with loving parents and four younger siblings, Ross attended the University of Missouri School of Journalism. After graduating, he headed for the lights and lure of Hollywood. He earned his MFA from the USC School of Cinema-Television and has been happily working in the film industry ever since. Aside from ONE PIECE, Kevin has edited such shows as HALT AND CATCH FIRE (2014-16), STRANGER THINGS - S1/2 and YELLOWJACKETS (2021-23).

    ERIC LITMAN

    Pennsylvania native Eric Litman is known for his work on FINAL DESTINATION 5 (2011), AGENTS OF S.H.I.E.L.D. (2013) and STAR TREK: PICARD (2023).

    ADAM PEARSON

    Actor-turned-editor Adam has assisted on shows such as DOPESICK (2021) and THE ROOKIE (2021). In addition to ONE PIECE, his work as an editor can be seen in BEVERLY HILLS PAWN (2014) and UFOs: THE LOST EVIDENCE (2017).

    DANIEL WILLIAMS

    In addition to working alongside Kevin Ross on ONE PIECE (2023) and YELLOWJACKETS (2023), Daniel has also assisted on THE X-FILES (2018) and SACRED LIES (2018-20).

    Editing ONE PIECE

    In our discussion with the ONE PIECE editing team, we talk about:

    24-hour cutting rooms Endearing dailies The beauty of Paint Tool sock puppets Keeping score on youthful tension Toning down the temp effects The Credits

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