Episodes
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UNSTOPPABLE director Billy Goldenberg and editor Brett Reed have had a working relationship for over twenty years, going back to their time together on COYOTE UGLY (2000). Since that film, they've logged a lot of hours as "editor and assistant" or "editor and additional editor", but their new film brings about a whole new dynamic, "director and editor". UNSTOPPABLE is the inspiring true story of Anthony Robles (Jharrel Jerome) who was born with one leg but whose indomitable spirit and unbreakable resolve empowered him to defy the odds and pursue his dreams. With the unwavering love and support of his devoted mother Judy (Jennifer Lopez) and the encouragement of his coaches, Anthony fights through adversity to earn a spot on the Arizona State Wrestling team. But it will demand everything he has, physically and mentally, to achieve his ultimate quest to become an NCAA Champion.
WILLIAM GOLDENBERG, ACEWhile UNSTOPPABLE is Billy's first shot at directing, he is one of the most well-respected and sought-after film editors working today. He won an Academy Award, BAFTA Award, and the American Cinema Editors’ (ACE) Eddie Award for his outstanding work on the 2013 Best Picture winner, Argo, directed by Ben Affleck. His recent editing credits include Air, 22 July, Unbroken, and Concussion.
Goldenberg received dual Oscar nominations in 2013, also being nominated, along with editor Dylan Tichenor, for his work on Kathryn Bigelow’s Zero Dark Thirty. In 2015, Billy was again nominated for an Oscar, a BAFTA Award, and an Eddie Award for the historical thriller The Imitation Game, starring Benedict Cumberbatch and Keira Knightley. He was previously Oscar-nominated for his editing work on Seabiscuit, and on Michael Mann’s controversial film The Insider (with Paul Rubell and David Rosenbloom). Goldenberg was also part of the editing team on Mann’s Heat, Ali, and Miami Vice
BRETT M. REEDPrior to cutting UNSTOPPABLE for Billy, Brett also collaborated with Artists Equity on Doug Liman’s film THE INSTIGATORS, starring Matt Damon, Casey Affleck and Hong Chau. Additionally, he edited OLD, directed by M. Night Shyamalan for Universal Pictures, as well as several episodes of Shyamalan’s television show THE SERVANT for Apple TV+. Previously Reed cut CLOUDS directed by Justin Baldoni for Disney+; Christoph Waltz’ GEORGETOWN; Automatik's DREAMLAND directed by Miles Joris-Peyrafitte and starring Margot Robbie; and Nick Hamm's bio-thriller DRIVEN, starring Erin Moriarty and Lee Pace. Brett's earlier work with Billy Goldenberg included supporting him as an Additional Editor on TRANSFORMERS: RISE OF THE BEASTS, LIVE BY NIGHT, CONCUSSION, UNBROKEN and ARGO. Reed was also a First Assistant Editor on THE AMAZING SPIDER-MAN 2, ZERO DARK THIRTY, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES, NATIONAL TREASURE, amongst others.
Directing and editing UNSTOPPABLEIn our discussion with Billy and Brett, we talk about:
Editors as first-time directors Cutting for a director who's an Oscar-winning editor Seeing double on the wrestling mat Obsessing and finessing an L-cut Making the most of a montage The CreditsVisit Extreme Music for all your production audio needs
Listen to Billy talk about cutting AIR and NEWS OF THE WORLD
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Editors - Andrew Buckland ACE and Scott Morris
A COMPLETE UNKNOWN editors Andrew Buckland, ACE and Scott Morris came into James Mangold's latest film being almost completely unknown to one another. Aside from mutual acquaintances, the two had never worked together or even met prior to this film. In spite of this, their combined talents tackled a big film that featured forty live performances and an aggressive post schedule. Co-written and directed by James Mangold, A COMPLETE UNKNOWN takes place in the early 1960s, when 19-year-old Bob Dylan arrives in New York with his guitar and revolutionary talent, destined to change the course of American music. Forming his most intimate relationships during his rise to fame, he grows restless with the folk movement, making a controversial choice that reverberates worldwide.
ANDREW BUCKLAND, ACEAndrew Buckland ACE is an Academy Award winning film editor who won the Oscar for his work on FORD v FERRARI alongside Michael McCusker ACE. He received his B.F.A. in Film from Purchase College before transitioning into editing. Landing his first job on Alan Pakula’s THE DEVIL’S OWN, Andrew has been a part of the editorial teams on many high-profile films including Mike Nichol’s CLOSER and CHARLIE WILSON’S WAR. Andrew subsequently directed two documentary films THE LONG WALL HOME and SOMOS WICHI, which won the 2012 Documentary Expose Award at The Peace On Earth Film Festival, Chicago USA. Andrew began his collaboration with James Mangold on KNIGHT AND DAY and THE WOLVERINE, and later edited FORD v FERRARI, and INDIANA JONES AND THE DIAL OF DESTINY. Other credits include Co-Editing Tate Taylor’s THE GIRL ON THE TRAIN and Additional Editing GET ON UP.
SCOTT MORRISScott Morris is a film editor with over 10 years' experience. He has collaborated with directors James Mangold, James Gray, Adam McKay and Gareth Edwards. In 2022 he was named one of Variety’s top 10 Artisans To Watch. His last film, THE CREATOR was nominated for two Oscars. His previous collaborations with James Gray on ARMAGEDDON TIME and AD ASTRA were selected for competition in the Cannes and Venice film festivals respectively. Ad Astra went on to be nominated for an Oscar. He worked as an additional editor on Adam McKay’s film, DON'T LOOK UP. It was nominated for 4 Oscars, including Best Film Editing for Hank Corwin. Scott is a graduate of Emerson College and represented by CAA.
Editing A COMPLETE UNKNOWNIn our discussion with A COMPLETE UNKNOWN editors Andrew Buckland, ACE and Scott Morris, we talk about:
The sounds of the city, the sounds of the sixties Nuance, nuance and more nuance Finding humanity in the cutting room Making the film "sing" Editors as voice extras The CreditsVisit Extreme Music for all your production audio needs
Listen to Andrew talk about his Oscar-winning work on FORD v FERRARI with Mike McCusker
Check out Scott Morris' podcast for THE CREATOR
Hear Andrew talk about what it was like cutting INDIANA JONES AND THE DIAL OF DESTINY
Subscribe to The Rough Cut podcast and never miss an episode
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Editors - Claire Simpson and Sam Restivo
GLADIATOR 2 editors Claire Simpson and Sam Restivo first teamed up when Sam worked 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 to co-editor for NAPOLEON (NAPOLEON). Released twenty-four years after the original GLADIATOR (2000) film, GLADITAOR 2 takes place sixteen years after young Lucius witnesses the death of Maximus at the hands of his uncle. In the long-awaited sequel, Lucius must enter the Colosseum after the powerful emperors of Rome conquer his home. With rage in his heart and the future of the empire at stake, he looks to the past to find the strength and honor needed to return the glory of Rome to its people.
CLAIRE SIMPSONClaire first worked for Ridley Scott on his 1987 film SOMEONE TO WATCH OVER ME. Even though that was only her fifth film credit, she was already an Oscar-winning editor having won the big prize for cutting PLATOON (1986) the year prior. She also cut director Oliver Stone’s film SALVADOR (1986) during that time. Claire would go on to do other films with both Oliver Stone and obviously Ridley Scott, and she would also receive an Oscar nomination for her work on the 2006 film, THE CONSTANT GARDENER.
SAM RESTIVOAside 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 GLADIATOR 2In our discussion with GLADIATOR 2 editors Claire Simpson and Sam Restivo, we talk about:
Alternating big and small projects with Ridley Scott Working with baboons in suits How Ridley edits with a brick The built-in logic of action editing If all else fails, get a reaction from the royal box The CreditsVisit ExtremeMusic for all your production audio needs Learn all about what's new with Avid Media Composer Hear Sam talk about cutting NAPOLEON Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
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Editor, Myron Kerstein ACE
WICKED: PART ONE editor, Myron Kerstein ACE finds himself in the familiar positions of both cutting a musical and also collaborating with director Jon M. Chu. This is Myron's third musical in a row, following Lin-Manuel Miranda's tick, tick Boom! (2021) and Chu's IN THE HEIGHTS (2021). Prior to IN THE HEIGHTS, Myron first cut for Chu on his film, CRAZY RICH ASIANS (2018).
Adapted from the venerable Broadway smash, WICKED: PART ONE follows the journey of a young woman named Elphaba. Misunderstood and often outcast because of her green skin, Elphaba forges an unlikely but profound friendship with Glinda, a fellow student with an unflinching desire for popularity. Following an encounter with the Wizard of Oz, their relationship soon reaches a crossroad as their lives begin to take very different paths.
MYRON KERSTEIN, ACEIn addition to his musical experience with Jon M. Chu and Lin-Manuel Miranda, Myron also had a diverse pool of film and tv projects, including GARDEN STATE (2004), NICK AND NORAH’S INFINITE PLAYLIST (2008), LITTLE FOCKERS (2010), THE DUKES OF HAZARD (2005), FAME (2009), GIRLS (2015-17) and HOME BEFORE DARK (2020).
Editing WICKED: PART ONEIn our discussion with WICKED: PART ONE editor, Myron Kerstein ACE we talk about:
Turning one big musical into two big movies Putting a sequel to sleep Managing a mass of musical media Selling an editing style to the director Spacing and pacing musical numbers The CreditsVisit ExtremeMusic for all your production audio needs
Listen to the Myron's interviews for tick, tick...Boom! and In the Heights
Leave a message and get your questions answered on the show
Check out all the latest features in Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
Visit The Rough Cut on YouTube
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Editor -Juliette Welfling
EMILIA PÉREZ editor Juliette Welfling took on the job of editing her first musical without knowing the rigor and precision that would be required for the job. For better or worse, neither did writer/director Jacques Audiard, himself new to the world of making a musical. It turns out, experience might be overrated, as the Netflix Oscar-hopeful has won over critics since its premiere at the 2024 Cannes Film Festival.
Written and directed by Jacques Audiard, EMILIA PÉREZ is based on Audiard's opera libretto of the same name. Audiard's opera was loosely adapted from Boris Razon's 2018 novel, Écoute. The film stars Zoe Saldaña, Selena Gomez, Adriana Paz and Karla Sofía Gascón in the title role. EMILIA PÉREZ tells the story of a feared cartel leader who enlists a lawyer to help her disappear and achieve her dream of transitioning into a woman. Its original songs were contributed by French singer Camille, while its original score was provided by her partner and collaborator, Clément Ducol.
Juliette WelflingJuliette Welfling began her career at age eighteen as an intern on Jean-Charles Tachella’s Cousin cousine. She later befriended Jacques Audiard while both were working as assistant editors, and she earned her first editor credit on his directorial debut See How They Fall. Welfling has received César nominations for each of Audiard’s eight films, winning four times: for See How They Fall, The Beat That My Heart Skipped, A Prophet, and Rust and Bone. She received an additional César nomination for Asghar Farhadi’s The Past, as well as a César win and Oscar nomination for Julian Schnabel’s The Diving Bell and the Butterfly. Welfling has also collaborated with other directors including Michel Gondry (The Science of Sleep) and Gary Ross (The Hunger Games, Ocean’s Eight).
Editing EMILIA PÉREZIn our discussion with EMILIA PÉREZ editor Juliette Welfling, we talk about:
Knowing the rules, when you don't want to know them, so you can apply them without knowing Not being a prisoner of precision Managing the menace within Fixing problems within the cutting room by finding inspiration outside of it Respect for fromage The CreditsVisit ExtremeMusic for all your production audio needs
Check out what's new with Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
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Editor - Robert Nassau
A REAL PAIN editor Robert Nassau might be Brooklyn's secret cinematic weapon when it comes to finding an editor who knows how to cut not-too-dark dramedies. And the seems to be what writer/director/actor Jesse Eisenberg was looking for when it came time to turn over the cutting room keys to his latest project. Premiering to much fanfare at Sundance 2024, A Real Pain is now delighting critics and audiences alike in its theatrical run.
A REAL PAIN follows mismatched cousins David (Jesse Eisenberg) and Benji (Kieran Culkin) as they reunite for a tour through Poland to honor their beloved grandmother. The adventure takes a turn when the odd-couple's old tensions resurface against the backdrop of their family history.
Robert NassauRobert Nassau edited the films The Big Sick (directed by Michael Showalter), A Futile and Stupid Gesture (David Wain), Hello, My Name is Doris (Showalter), Juliet, Naked (Jesse Peretz), The Lovebirds (Showalter), Shortcomings (Randall Park), Somewhere in Queens (Ray Romano) and Wanderlust (Wain). Television series include “Children’s Hospital” (Adult Swim), “Dash and Lily”(Netflix),“The Last O.G.”(Comedy Central),“The Other Two”(Max), and“Wet Hot American Summer” (Netflix). For two summers in high school, he worked at the National Zoo. He is a graduate of the Rhode Island School of Design.
Editing A REAL PAINIn our discussion with A REAL PAIN editor Robert Nassau, we talk about:
Chopin up the score Not coming to a resolution with music Following the St. Crispin's Day rule for monologues Finding the line between annoying and outgoing Sometimes all a scene really needs is a cricket The CreditsVisit ExtremeMusic for all your production audio needs
Check out what's new with Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
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Editor - Otto Burnham
Editor Otto Burnham took on the job for SUPER/MAN: THE CHRISTOPHER REEVE STORY knowing that he wouldn't be lacking for source material on his subject. Rather, the challenge would lie in processing the countless hours of material from Reeve's work and his life to find the real superhero within.
Directed by Ian Bonhôte and Peter Ettedgui, who co-wrote the script with Otto, SUPER/MAN: THE CHRISTOPHER REEVE STORY is an intimate view into the life of actor Christopher Reeve. The film chronicles his rise to stardom upon landing the role of Superman in the 1970's, as well as the dramatic turn his life takes when a horse-riding accident leaves him paralyzed in 1995. Through home movies and interviews with those closest to Reeve, the audience is shown a side of this super man they've never seen before.
Otto BurnhamIn his own words, award-winning (ACE Eddie, Emmy® and RTS) editor Otto Burnham describes himself as, "comfortable with the story telling and creative demands of broadcast TV, feature documentary, commercials and music videos. I love collaborating on films which focus on dramatic, emotional stories or difficult, challenging topics. With every project, I bring a high level of speed, skill and enthusiasm to my work. I have also shot and directed my own work and cut an award-winning feature documentary in my spare time".
Editing SUPER/MAN: THE CHRISTOPHER REEVE STORYIn our discussion with SUPER/MAN: THE CHRISTOPHER REEVE STORY, Otto Burnham we talk about:
Climbing the greasy rungs of postproduction The McQueen's Gambit One Avid, two timelines Avoiding the radio play approach The storytelling superpower of ScriptSync The CreditsVisit ExtremeMusic for all your production audio needs
Check out what's new with Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
Visit The Rough Cut on YouTube
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Editor, Jeff Groth ACE
JOKER: FOLIE À DEUX editor, Jeff Groth ACE had a tough act of his own to follow, coming off of his ACE Eddie and Oscar nominated work on Todd Phillips' JOKER (2019), but follow it he did.
Directed by Todd Phillips from a screenplay he co-wrote with Scott Silver, the sequel follows failed comedian Arthur Fleck as he struggles with his dual identity. While incarcerated at Arkham State Hospital as he awaits his trial, Arthur meets the love of his life, Harley Quinn.
JEFF GROTH, ACEHaving worked previously with Phillips on such films as THE HANGOVER III (2013) and WAR DOGS(2016), with JOKER Jeff not only started making a name for himself as an editor to be recognized, but also proved his mettle as a filmmaker who could deftly craft stories about complex characters and their descent into desperation; a skill that came in quite handy on the dark and delicate aspects of the Russo Brothers' CHERRY (2021) and JOKER: FOLIE À DEUX.
Editing JOKER: FOLIE À DEUXIn our discussion with JOKER: FOLIE À DEUX editor, Jeff Groth ACE we talk about:
The benefit of having a fireplace in the cutting room Color bleed, film grain and the sounds of the 70's On-set piano accompaniment The super rats of Gotham Singing in a scene vs a musical number The CreditsVisit ExtremeMusic for all your production audio needs
Listen to the original Joker podcast with editor, Jeff Groth ACE
Hear about Jeff's work with the Russo Brothers on Cherry
Check out all the latest features in Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
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Editor - Marco Costa
CHALLENGERS editor Marco Costa knew one thing going into Luca Guadagnino's recent tennis movie, and that's that Luca didn't know anything about tennis. Luca would explain to Marco that this film isn't about tennis. The incredibly kinetic action in the tennis sequences that Marco cut say otherwise.
CHALLNEGERS stars ZENDAYA as Tashi Duncan, a former tennis prodigy turned coach and a force of nature who makes no apologies for her game on and off the court. Tashi is married to Art, a champion on a losing streak. Tashi’s strategy for her husband’s redemption takes a surprising turn when he must face off against the washed-up Patrick— Art’s former best friend and Tashi’s former boyfriend. As their pasts and presents collide, and tensions run high, Tashi must ask herself, what will it cost to win?
Marco CostaEditor Marco Costa first joined the cinematic world of Luca Guadagnino as a second assistant under editor Walter Fasano on Luca’s film, SUSPIRIA (2018). Marco would go on to be the lead editor on Luca’s film BONES AND ALL (2022), as well as his tv series, WE ARE WHO WE ARE (2020). Following CHALLENGERS, Luca and Marco have since worked together on QUEER (2024) and are currently working on the film AFTER THE HUNT.
Editing CHALLENGERSIn our discussion with CHALLENGERS editor, Marco Costa we talk about:
Putting T&A into the movie Super modernistic editing Frank Llloyd Wright filmmaking Bringing your geometry homework to the cutting room How to get 'em dancing in the aisles The CreditsVisit ExtremeMusic for all your production audio needs
Check out what's new with Avid Media Composer
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Editors Nathan Orloff and Shane Reid
SATURDAY NIGHT editors Nathan Orloff and Shane Reid team up for the second time in 2024 with their latest Jason Reitman / Gil Keenan project about NBC's long-running sketch comedy show. Having previously cut GHOSTBUSTERS: FROZEN EMPIRE together, the pair developed a strong working relationship that certainly came in handy when Shane had to do double duty between this project and DEADPOOL & WOLVERINE (2024).
SATURDAY NIGHT is a frenetic dramatization of what happened behind the scenes during the ninety minutes leading up to the first broadcast of NBC's Saturday Night on October 11th, 1975, when a dynamic young producer named Lorne Michaels lead a ferocious troupe of young comedians and writers in changing television forever.
NATHAN ORLOFFNathan Orloff is known for his editing on TULLY (2018), PLAN B (2021), GHOSTBUSTERS: AFTERLIFE (2021), JOHN WICK: CHAPTER 4 (2023) and GHOSTBUSTERS: FROZEN EMPIRE (2024).
SHANE REIDAs a partner of the award-winning post house Exile Edit, Shane has been nominated for, and won, multiple awards for his work in the commercial space with top brands including Apple, Adidas, BMW, Hennessy, Audi and the Olympics. He quickly became one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat & Chloe Zhao. He has also cut multiple music videos for Taylor Swift, Paul McCartney, Florence + The Machine and Kamasi Washington.
In 2018, Reid edited on the film A Hidden Life for director Terrence Malick. He recently cut the short film I’m on Fire for director Michael Spiccia which premiered at the 2022 Toronto and Clermont-Ferrand International Festivals. Shane recently co-edited DEADPOOL & WOLVERINE alongside editor Dean Zimmerman, ACE.
Editing Saturday NightIn our discussion with SATURDAY NIGHT editors, Nathan Orloff and Shane Reid, we talk about:
Kicking things off with a quote Adding oner + oner + oner + oner On-set scoring with Jon Batiste Making something of Nothing From Nothing SNL trivia The CreditsVisit ExtremeMusic for all your production audio needs
See what's new with Avid Media Composer
Check out Nathan and Shane's interview for Ghostbusters: Frozen Empire
Watch Nathan Orloff's guided tour of his John Wick: Chapter 4 Media Composer timelines
Hear Nathan Orloff discuss cutting Ghostbusters: Afterlife and John Wick: Chapter 4
Listen to Shane Reid talk about editing Deadpool & Wolverine with Dean Zimmerman, ACE
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Editor - Cam McLauchlin
MEGALOPOLIS editor Cam McLauchlin had no idea what was waiting for him on the other side when he knocked on Francis Ford Coppola's door. Now that Coppola's decades-in-the-making passion project has become a "surreality", McLauchlin still can't quite explain everything that took place in the making of this film. One thing is clear to Cam however, this was Francis's vision and Francis IS "Cesar Catalina".
MEGALOPOLIS takes place in a somewhat alternate universe, where New York City is New Rome, and stars Adam Driver as Caesar Catalina, a brilliant artist, who somehow has the ability to stop time and has developed a magical substance called MEGALON that can be used to build a utopian city of the future. Caesar is at odds with the greedy mayor of New Rome, Franklyn Cicero. Between them is his daughter Julia Cicero, her loyalty divided between her father and her beloved.
CAM McLAUCHLINAs a film & television editor based out of Toronto and Los Angeles, Cam's career began in Toronto working as an assistant editor for Guillermo Del Toro on PACIFIC RIM, THE STRAIN, CRIMSON PEAK and eventually as an associate editor on SHAPE OF WATER. Cam also edited the horror cult classic, THE VOID with alumni from Canadian film production and directing company, Astron-6. Other selected work includes; Max Minghella's feature debut musical, TEEN SPIRIT and Dogme 95 member, Lone Schefrig's KINDNESS OF STRANGERS. Cam is currently doing an extended cut on NIGHTMARE ALLEY with director Guillermo Del Toro.
Editing MEGALOPOLISIn our discussion with MEGALOPOLIS editor, Cam McLauchlin we talk about:
Going on a job interview with Francis Ford Coppola Digging through twenty years of footage When the director asks, "You want to hear a crazy idea"? The future of interactive cinema Working where you live and living where you work The CreditsVisit ExtremeMusic for all your production audio needs
Check out what's new with Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
Visit The Rough Cut on YouTube
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Editor - Kyle Traynor
Although INDUSTRY editor Kyle Traynor joined the series already in progress in its sophomore season, by season three he would be given the cutting room keys to half of the season's episodes, including both the series premiere and its finale.
Created by Mickey Down and Konrad Kay, INDUSTRY follows a group of young graduates competing for a limited number of available full-time employment opportunities at Pierpoint, a top investment bank in London. The graduates include Harper Stern, a Black upstate New York native who uproots her life in pursuit of success despite having lied about the university she attended, Robert Spearing, a white working-class Oxford graduate who is eager to please and Yasmin Kara-Hanani, a privileged, well-connected child of Lebanese parents.
Kyle TraynorKyle is a Los Angeles based editor with work ranging from motion pictures to television, commercials, web and VR. He got his start working with director David Fincher and moved his way up to editor for the acclaimed series House of Cards. Since then he has worked on additional projects for Netflix along with series for HBO, Amazon, Disney, LucasFilm as well as commercials for brands such as Nike, Porsche, Land Rover and Meta. Kyle has worked on several independent projects that have premiered at Sundance, Tribeca, SXSW, and Toronto International.
Editing INDUSTRYIn our discussion with INDUSTRY editor Kyle Traynor, we talk about:
Keeping the cutting room close to the trading floor The edutainment of delivering drama vs explaining economics Getting control over kinetic camera work Opening up hidden gems in closed captions Loving those 80's needle drops The CreditsVisit Extreme Music for all your production audio needs
See the latest new features in Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
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Editor - Jessica Baclesse
REZ BALL editor, Jessica Baclesse says she got the job for the film through a chance encounter with a not-so-stranger across a crowded room. Random or not, Jess already had plenty of editing experience under her belt, including time logged cutting a big sports movie with Michael B. Jordan's directorial debut, CREED III (2023).
REZ BALL was directed by Sydney Freeland and co-written by Freeland and Sterlin Harjo (RESERVATION DOGS). It tells the story of the Chuska Warriors, a Native American high school basketball team from New Mexico who, after losing their star player, must band together to keep their quest for a state championship alive.
Jessica BaclesseJessica Baclesse is an award-winning film editor working in features, television and commercials. In addition to editing Creed III with Tyler Nelson, she was an additional editor on Marvel's 2021 television series Loki, directed by Kate Herron, and a pre-production editor on The Falcon and the Winter Soldier.
Baclesse's work on Nike's 2020 You Can't Stop Us received an Emmy for Outstanding Commercial, a Cannes Grand Prix Lion and an AICP Award for Best Editing Montage. Jess has also edited global commercial campaigns, including Instagram's Get Into What You Love, which was nominated for a Webby Award for Best Use of Video or Moving Image in Advertising.
Baclesse received her MFA in Film from Columbia University and has edited many critically renowned narrative shorts that have been featured at festivals such as Slamdance, LA Film Festival, and Palm Springs International Film Festival.
Editing Rez BallIn our discussion with REZ BALL editor Jessica Baclesse, we talk about:
The importance of understanding geographical isolation Following the "How to..." from Hoosiers Letting the kids lead you to the story LeBron James, technical advisor Going to "sheep camp" The CreditsVisit Extreme Music for all your production audio needs
See the latest new features in Avid Media Composer
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The Documentarian - Roger Nygard, ACE
Roger Nygard's The Documentarian is the ultimate go-to source for making and selling documentaries, answering every question and containing crucial strategies every filmmaker needs to know to succeed as a documentarian. Included are insights from experts and award-winning documentary filmmakers such as Davis Guggenheim (An Inconvenient Truth), Liz Garbus (Ghosts of Abu Ghraib), Rachel Grady (Jesus Camp), Freida Lee Mock (Maya Lin: A Strong Clear Vision), Errol Morris (The Fog of War), Sam Pollard (4 Little Girls), Michael Tollin (The Last Dance), Frederick Wiseman (Titicut Follies), Marina Zenovich (Robin Williams: Come Inside My Mind).
The book includes a case study profiling the making and selling of the documentary Trekkies; what it took to push it to a record-setting sale to a major studio, with a huge payout to the filmmakers. This book is inspirational and leaves people—after reading a chapter or finishing the book—feeling more inspired to go forth with their own struggle.
Roger Nygard, ACERoger Nygard has balanced humor and seriousness in his documentaries Trekkies, The Nature of Existence, The Truth About Marriage, and The Comedy Store. Nygard has also directed TV series The Office and The Bernie Mac Show, and edited Emmy-nominated episodes of VEEP and Curb Your Enthusiasm. Roger wrote a book about editing comedy called Cut to the Monkey. He didn't learn his lesson, so he did it again; his new book is called The Documentarian. Despite reports to the contrary, Roger has never been indicted OR convicted. It's important to have goals.
Writing The DocumentarianIn our discussion with The Documentarian editor and author Roger Nygard, ACE we talk about:
The biggest mistake new doc makers make It's not a pitch, it's a project Working backwards to move forward The intrinsic link between the interview and the edit Editorial shortcuts through the material minefield The CreditsVisit Extreme Music for all your production audio needs
Get your own copy of The Documentarian
Listen to Roger talk about his work on Curb Your Enthusiasm and his other book Cut to the Monkey
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Subscribe to The Rough Cut podcast and never miss an episode
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Editor and Author - Steve Hullfish, ACE
This is the second volume of the widely acclaimed Art of the Cut book published in 2017. This follow-up text expands on its predecessor with wisdom from more than 360 interviews with the world’s best editors (including nearly every Oscar winner from the last 30 years).
Because editing is a highly subjective art form, and one that is critical to the success of motion picture storytelling, it requires side-by-side comparisons of the many techniques and solutions used by a wide range of editors from around the world. That is why this book compares and contrasts methodologies from a wide array of diverse voices and organizes that information so that it is easily digested and understood.
There is no one way to approach editorial problems, so this book allows readers to see multiple solutions from multiple editors. The interviews contained within are carefully curated into topics that are most important to film editors and those who aspire to become film editors. The questions asked, and the organization of the book, are not merely an academic or theoretical view of the art of editing but rather the practical advice and methodologies of actual working film and TV editors, bringing benefits to both students and professional readers.
The book is supplemented by a collection of downloadable online exclusive chapters, which cover additional topics ranging from Choosing the Project to VFX. In addition to the supplementary chapters, access to the full-color, full-resolution images printed in the book—and other exclusive images—is included.
Steve Hullfish, ACESteve has been editing professionally since 1984. He has edited theatrical feature films, (including Courageous, War Room, and Overcomer), TV series (including The Oprah Winfrey Show), and documentaries. He is the author of six other books on editing and post-production. He has taught editing to students and professionals all over the world, and his books have been translated into numerous languages. His work has also been published in post-production trade journals worldwide.
Writing Art of the Cut: Vol IIIn our discussion with editor and author Steve Hullfish, ACE we talk about:
Getting off the sidelines and into the editing game Turning three million words into one big book An editor getting notes from a hundred other editors The changing dynamic between assistant and editor How Avid can really save you money The CreditsVisit Extreme Music for all your production audio needs
Get your own copy of Art of The Cut Vol II
See the latest new features in Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
Visit The Rough Cut on YouTube
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Jake Roberts ACE, Will Files, Polly McKinnon and Lee Gilmore
Although the ALIEN: ROMULUS postproduction team of Jake Roberts ACE, Will Files, Polly McKinnon and Lee Gilmore came into this project with a wealth of knowledge and experience amongst them, they still learned a thing or two from director Fede Álvarez, including Fede's not-so-secret formula for jump scares, as well as the notion that clear dialogue isn't always as important as gripping action. Plus, they reveal the hidden intent of Álvarez to split ALIEN and ALIENS into the two sides of the REMUS/ROMULUS space station.
ALIEN: ROMULUS is the ninth installment in the Alien franchise, set between the events of ALIEN (1979) and ALIENS (1986). The film follows a group of downtrodden young space colonists in pursuit of better life conditions. During the course of their escape from endless servitude on a mining colony, they encounter hostile creatures while scavenging a derelict space station.
JAKE ROBERTS, ACEAfter his work on CITADEL (2012), STARRED UP (2013), THE RIOT CLUB (2014) and BROOKLYN (2015), Roberts earned an Oscar nomination for Best Film Editing for his work on HELL OR HIGH WATER (2016) starring Chris Pine. The movie also garnered him a nomination for an Independent Spirit Award. Roberts then cut OUTLAW KING (2018) for Netflix directed by David Mackenzie. He then began collaborating with director Alex Garland, editing his 2020 miniseries DEVS as well as his film, MEN (2022). Prior to ALIEN: ROMULUS, Jake cut Garland's CIVIL WAR (2024).
WILL FILESWill Files is known for his work on THE INVISIBLE MAN (2020), VENOM (2018), WAR FOR THE PLANET OF THE APES (2017), STAR WARS: EPISODE VII – THE FORCE AWAKENS (2017) and CLOVERFIELD (2008).
POLLY McKINNONPolly McKinnon is known for DISTRICT 9 (2009), FORD V FERRARI (2019) and INDIANA JONES AND THE DIAL OF DESTINY (2023). In 2019 she won a Golden Reel Award for her sound editing on EXTINCTION (2018).
LEE GILMORELee Gilmore is known for BLADE RUNNER 2049 (2017), DUNE (2021) and THE BATMAN (2022). Gilmore also won an Emmy for his work on the feature film, PREY (2022).
Editing Alien: RomulusIn our discussion with the Alien: Romulus postproduction team, we talk about:
Bringing the noise to the set Clubbing with Fincher Going "Holm" again The sweet sound of saturated seventies screams Fede's formula for jump scares The CreditsVisit ExtremeMusic for all your production audio needs
Listen to Jake talk about his work on CIVIL WAR
Hear Will discuss the psychology of SOUND DESIGN and how he employed it on GHOSTBUSTERS: AFTERLIFE and THE BATMAN
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Editor - Eliot Knapman
FURIOSA editor Eliot Knapman is no stranger to the post-apocalyptic postproduction of a Mad Max movie, having previously worked as ACE editor Margaret "Margie" Sixel's second assistant on MAD MAX: FURY ROAD. For director George Miller's latest film in the franchise, not only was Eliot tapped to be co-editor with Sixel, but was there on set with Miller throughout production doing the first assembly under what had to be fun, but arduous, conditions.
FURIOSA is the fifth installment in Miller's Mad Max franchise, and the first not focused on series protagonist Max Rockatansky, instead acting as both a spin-off prequel to MAD MAX: FURY ROAD (2015) and an origin story for the Fury Road character Furiosa, portrayed by both Anya Taylor-Joy and Alyla Browne in the prequel. Set 15 to 20 years before the events of Fury Road, the film follows the title character's life for over a decade, from her kidnapping by the forces of warlord Dementus (Chris Hemsworth) to her ascension to the rank of Imperator.
Eliot Knapman Prior to moving up to the editor's chair on FURIOSA, Eliot worked as a first assistant on such films as THREE THOUSAND YEARS OF LONGING (2022) and THE LEGO BATMAN MOVIE (2017), and as a second assistant on films like MAD MAX: FURY ROAD (2015) and THE GREAT GATSBY (2013). Editing FURIOSA: A MAD MAX SAGAIn our discussion with FURIOSA editor Eliot Knapman, we talk about:
Origin stories on screen and in the cutting room Q-Taking it all in Digging through the ToyBox to build the War Rig Keeping your protagonist active Having fun with frame rates The CreditsVisit Extreme Music for all your production audio needs
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Editors Dean Zimmerman ACE and Shane Reid
DEADPOOL & WOLVERINE editors, Dean Zimmerman ACE and Shane Reid are the "buddies" in the cutting room of what is shaping up to be the biggest, R-rated buddy movie of all time. Zimmerman joined this film with two other Shawn Levy / Ryan Reynolds films to his credit, but it would be Mrs. Pool (Blake Lively) who would be Shane Reid's connection into the "Merc With a Mouth" franchise.
Deadpool's peaceful existence comes crashing down in DEADPOOL & WOLVERINE when the Time Variance Authority recruits him to help safeguard the multiverse. He soon unites with his would-be pal, Wolverine, to complete the mission and save his world from an existential threat.
DEAN ZIMMERMAN, ACEDEADPOOL & WOLVERINE finds Dean collaborating once again with director and longtime friend, Shawn Levy. The two have been working together for over twenty years on projects like the NIGHT AT THE MUSEUM franchise and a little series called STRANGER THINGS. More recently, the two have joined forces with Ryan Reynolds for FREE GUY (2021) and THE ADAM PROJECT (2022). Zimmerman and Levy are currently working on the much-anticipated final season of STRANGER THINGS. Dean's father, Don Zimmerman, is a highly accomplished editor in his own right. (yes, I totally hacked this from the write-up on Dean I did for THE ADAM PROJECT)
SHANE REIDAs a partner of the award-winning post house Exile Edit, Shane has been nominated for, and won, multiple awards for his work in the commercial space with top brands including Apple, Adidas, BMW, Hennessy, Audi and the Olympics. He quickly became one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat & Chloe Zhao. He has also cut multiple music videos for Taylor Swift, Paul McCartney, Florence + The Machine and Kamasi Washington.
In 2018, Reid edited on the film A Hidden Life for director Terrence Malick. He recently cut the short film I’m on Fire for director Michael Spiccia which premiered at the 2022 Toronto and Clermont-Ferrand International Festivals, as well as Sony Pictures' GHOSTBUSTERS: FROZERN EMPIRE.
Editing Deadpool & WolverineIn our discussion with DEADPOOL & WOLVERINE editors, Dean Zimmerman ACE and Shane Reid, we talk about:
Text messages…big text messages Stranger Things taking place in the MCU Masking up for ADR Jennifer Stellema, Superhero assistant Revisiting the rewinds The CreditsVisit ExtremeMusic for all your production audio needs
Watch Dean and his team break down scenes from Stranger Things
Hear Shane talk about his work on GHOSTBUSTERS: FROZEN EMPIRE
See what's new with Avid Media Composer
Listen to Dean discuss doing FREE GUY and THE ADAM PROJECT with Shawn Levy and Ryan Reynolds
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Editor - Terilyn A. Shropshire, ACE
TWISTERS editor Terilyn Shropshire has more than a few action movies under her belt, but those films mostly featured action in the style of man (or woman) vs. man; films like THE OLD GUARD and THE WOMAN KING. This time Teri takes on Mother Nature in a film where the visual effects are front and center in the set pieces.
A standalone "spiritual" sequel to TWISTER (1996), TWISTERS tells the story of scientist and storm chaser, Kate Cooper. Haunted by a devastating encounter with a tornado, Kate gets lured back to the open plains by her friend, Javi, to test a groundbreaking new tracking system. She soon crosses paths with Tyler Owens, a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma.
TERILYN A. SHROPSHIRE, ACEAward-winning editor Terilyn A. Shropshire has risen to the pinnacle of the editing world over the course of her long career, consistently working on a broad range of films with the industry’s foremost filmmakers. Shropshire’s success spans many forms and mediums, and always accumulates accolades from both the industry and critics alike.
Among Shropshire’s longtime collaborators is award-winning director/writer/producer Gina Prince-Bythewood, having worked with her closely since Bythewood’s classic debut, “Love & Basketball.” Shropshire most recently worked with Bythewood on “The Woman King,” for Sony’s Tristar Pictures. Among the many accolades Shropshire received for the film include an American Cinema Editors Eddie nomination for Best Edited Feature Film Drama Theatrical and winner for Outstanding Editing from the Black Reel Awards. Other collaborations with Prince-Bythewood include the influential features “The Old Guard,” “Beyond the Lights,” and “The Secret Life of Bees.”
Shropshire’s storied career also includes a number of films with long-time collaborator, Kasi Lemmons – the classic Southern drama “Eve’s Bayou,” along with “The Caveman’s Valentine,” “Talk to Me,” and “Black Nativity.”
In 2019, Shropshire received an American Cinema Editors Eddie nomination for her work on Part 1 of Netflix’s four-part miniseries “When They See Us,” directed by Ava DuVernay. Shropshire earned an Emmy nomination for her Lifetime Achievement Award Tribute to Sidney Poitier for the 74th Annual Academy Awards and an ACE Eddie Award for the Jamie Foxx-starring crime drama, “Redemption: The Stan Tookie Williams Story.”
Teri serves on the Board of Governors at the Academy of Motion Picture Arts and Sciences and the Board of American Cinema Editors. Shropshire is a member of the Academy of Television Arts and Sciences and the Diversity Committee of the Motion Picture Editor’s Guild. She is the recipient of the 2021 Sundance Institute/Adobe Mentorship Award for her commitment to supporting the future’s rising stars in the craft. She earned dual Bachelor of Arts degrees in Broadcast Journalism and Cinema at the University of Southern California.
Editing TWISTERSIn our discussion with TWISTERS editor Terilyn Shropshire, we talk about:
Soundtracks for stormy weather Cyclonic oners A need for editorial amnesia "Teri-nadoes" The kiss that never came The CreditsVisit Extreme Music for all your production audio needs
Hear Teri talk about his work on THE OLD GUARD and THE WOMAN KING
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Subscribe to The Rough Cut podcast and never miss an episode
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Editors - Susy Benaim and Todd Downing, ACE
CLIPPED editors Susy Benaim and Todd Downing are no strangers to telling true stories about real-life characters, compelling and complicated real-life characters. Those storytelling skills were put to the test for CLIPPED, a sordid soap opera about the day of reckoning for one of the NBA's most notorious owners.
Created by showrunner Gina Welch and based on the ESPN 30 for 30 podcast The Sterling Affairs, CLIPPED focuses on the downfall of Los Angeles Clippers owner Donald Sterling (Ed O'Neill), amid the team's drive to win a championship under new coach Doc Rivers (Laurence Fishburne).
SUSY BENAIMSusana Benaim is a Venezuelan Film and Television Editor best known for her work on THE DROPOUT on Hulu, NATIONAL TREAURE: EDGE OF HISTORY series for Disney+, and SELF MADE: INSPIRED BY THE LIFE OF MADAM C.J. WALKER on Netflix. Susy is currently a Junior Mentor for the ACE Diversity Mentorship Program, for which she was also a mentee a few years prior. She recently wrapped editing on the feature film HURRICANNA, directed by Francesca Gregorini.
TODD DOWNING, ACE Todd Downing, ACE edits television series, films, and documentaries across a wide range of genres, from arthouse animation to slapstick comedy to documentaries about the Syrian civil war. His credits include RUSSIAN DOLL, DIFFICULT PEOPLE, FRONTLINE, and MRS. AMERICA. He’s worked in both the U.K. and the U.S.A., and has been nominated for three BAFTAS, an ACE Eddie, and won two Royal Television Society awards. Editing CLIPPEDIn our discussion with CLIPPED editors Susy Benaim and Todd Downing, we talk about:
Developing a "doom scroll" Being objective with dailies Spending time with horrible people Gina hates jazz Making a basketball series without basketball The CreditsVisit Extreme Music for all your production audio needs
Hear Todd talk about his work on MRS. AMERICA and RUSSIAN DOLL
See the latest new features in Avid Media Composer
Subscribe to The Rough Cut podcast and never miss an episode
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