Today on Art of the Cut we speak with Brian Kates, ACE, about editing Bill Condon’s Kiss of the Spider Woman.

Brian’s work includes feature films like Savages, Killing Them Softly, and Shortbus. Also documentaries like All the Beauty and the Bloodshed for which he was nominated for an ACE Eddie, and TV series like Succession, The Marvelous Mrs. Maisel, for which he won an Emmy, and Treme. In addition to his numerous nominations he has won two Emmys and two ACE Eddies.

Today’s discussion covers the tonal shifts between Technicolor music fantasy and imprisoned reality, managing to maintain a diverse filmography, and the joys and challenges of editing a musical.

You can read along with this interview at BorisFX's blog site.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with three members of the post team for Paul Thomas Anderson’s latest film, One Battle After Another.

Joining us are editor Andy Jurgensen, associate editor, Jay Trautman, and film assistant editor, Andrew Blustain. The film was shot in two different film formats including VistaVision and the film was finished in a variety of formats, leading to a complicated and fascinating post process.

Andy Jurgensen has been on Art of the Cut before for another Paul Thomas Anderson film, Licorice Pizza, for which he was nominated for a BAFTA and an ACE Eddie. Andy was also an assistant editor on Phantom Thread, Bombshell, Trumbo, and Inherent Vice.

Jay Trautman was a Visual Effects Assistant Editor on Dune 2, an assistant editor on Oppenheimer, first assistant editor on Licorice Pizza, and was an assistant editor on The Book of Bobba Fett, Grey’s Anatomy, and House of Cards.

Andrew Blustain was an assistant editor on Tenet, visual effects assistant editor on Dunkirk, an assistant editor on Oppenheimer, and second assistant editor (film) on Once Upon a Time in Hollywood.

Today’s discussion covers the technical details of the film’s VistaVision film production, the importance of creating dynamics, and the calibration of tone necessary to pull of the film’s transitions from dramatic to comic.

You can read along with this interview and see some cool excluisve photos, plus trailers, movie clips and featurettes by visiting the Boris FX website and blog at

borisfx.com/blog/aotc

Today on Art of the Cut, it’s my pleasure to speak with ACE Eddie-winning and Emmy-winning editor, Taylor Mason, ACE, about the film Him.

Taylor has been on Art of the Cut before for the feature film, Birth/Rebirth. She has also edited A Black Lady Sketch Show, Dahmer: Monster - The Jeffrey Dahmer Story, and Pose. She’s also been an assistant editor on Bladerunner 2049, Dune, and DC League of Super-Pets.

Today’s discussion is about leaning into the film’s themes for inspiration, and how Taylor used her own sports background and her father’s Super Bowl-winning career to lend authenticity to critical scenes.

You can read along with this podcast on the blog site which includes exclusive photos, clips and trailers.

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Bob Joyce about editing “Spinal Tap II: The End Continues.”

Bob’s been nominated for a Emmy and an ACE Eddie for editing “Albert Brooks: Defending My Life.” Among other films his other work includes two other Rob Reiner features, Shock and Awe, and LBJ.

Today’s discussion is about the collaboration process with director Rob Reiner, using a synced recording of an audience screening to refine comic pacing, and why fantastic comic moments get deleted.

If you'd like to read along with this interview and see clips, trailers, timeline screenshots and exclusive photos, visit the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Oscar-nominated editor, Andrew Weisblum, ACE, about cutting Darren Aronofsky’s film, Caught Stealing.

Andrew’s been on Art of the Cut before to discuss The French Dispatch, Alice Through the Looking Glass, and tick, tick, BOOM! - for which he was nominated for an Oscar and won an ACE Eddie. He was also nominated for an Oscar for editing Black Swan. His other work includes Wolfs, The Whale, Mother, and Isle of Dogs.

Today’s discussion is about the value of editing on-set, the benefits of having the editor speak into the script, and the dangers of reading the source material.

If you'd like to read along with this podcast and see clips, trailers and stills from the movie, visit the Boris FX blog site:

Borisfx.com/blog/aotc

Today on Art of the Cut we speak with editor Matt Villa, ACE about working with Ron Howard on his new film, Eden.

Matt’s been on Art of the Cut before for his editing of Elvis, for which he was nominated for an Oscar, a BAFTA and an ACE Eddie . His other films include The Great Gatsby, Peter Rabbit 2, and The Lego Batman Movie for which he was nominated for an ACE Eddie.

Today’s discussion is about compressing a 3:40 editors cut down to size, finding subtext in performance, and so much more.

If you'd like to read along with this podcast, visit the BorisFX blog at: borisfx.com/blog/aotc

Today on Art of the Cut we’re speaking with editor Elísabet Ronaldsdóttir, ACE, and first assistant editor, Matt Absher about editing Nobody 2.

Elisabet has been on Art of the Cut before for Atomic Blonde, Shang Chi and the Legend of the 10 Rings, Bullet Train, and The Fall Guy. Elisabet has also edited Love Hurts, Kate, Deadpool 2, and John Wick.

Matt was on Art of the Cut with Elisabet for The Fall Guy. He was first assistant editor with Elisabet on all the aforementioned productions and has also been a first assistant editor on Us and Nope.

This week’s episode features an in-depth discussion of how to cut two movies at the same time, how the assistant director is the captain of the ship, and why Elisabet got a co-producer credit.

If you want to read along with this interview with clips, trailers and photos, go to the BorisFX blog site:

borisfx.com/blog/aotc

Today on Art of the Cut we speak with Joe Murphy about editing the new Zach Cregger movie, Weapons.

We last spoke to Joe and director Zach Cregger about their last collaboration, Barbarian. Joe’s other editing work includes features like Swallow, Don’t Come Back from the Moon and Beach Rats. His TV episodic work includes A Friend of the Family.

This week’s episode features an in-depth discussion of how to maximize a jump scare, the benefits of working with the director on multiple projects, and the value of NOT temp scoring the movie.

If you want to read along with the podcast, you can do it at the BorisFX blog!

borisfx.com/blog/aotc