Today on Art of the Cut we speak with Oscar-winning editor - and now DIRECTOR - William Goldenberg, ACE about his directorial debut - the NUMBER ONE GLOBAL MOVIE on Amazon - Unstoppable. Of course, we also have William’s editor - no, he didn’t edit it himself - Brett Reed. Brett and William have been working together for more than 20 years.
William has been on Art of the Cut many times, including for The Instigators, Air, The Outfit, News of the World, 22 July, Detroit, and Live By Night. Billy won the Oscar for Best editing, a BAFTA and an ACE Eddie for Argo. He was nominated for an ACE Eddie for Air, an Oscar nomination and a BAFTA nom for The Imitation Game, nominated for an Oscar for Zero Dark Thirty, nominated for an Oscar and an ACE Eddie for Seabiscuit, and for The Insider… and an Emmy for Citizen X.
Brett was also on The Instigators. He was an editor on M. Night Shyamalan’s Old. He was also an additional editor on Transformers: Rise of the Beasts, Detroit and Live by Night.
This discussion includes - among other things - the editing skills that helped William transition to director, why - other than their long working relationship - that William chose Brett as his editor, editing handheld footage - and a fascinating bit of Hollywood lore about Led Zeppelin and the movie Argo.
If you'd like to read along with this interview and see the complete clips that we discuss in the interview, please go to:
borisfx.com/blog/aotc
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45:55
A COMPLETE UNKNOWN
Today on Art of the Cut we speak with editors Scott Morris and Oscar-winning editor Andrew Buckland, ACE about editing James Mangold’s A Complete Unknown.
Andrew’s been on Art of the Cut before for his work on The Girl on the Train, and for Ford v Ferrari for which he won an Oscar and a BAFTA and was nominated for an ACE Eddie. He also edited Indiana Jones and the Dial of Destiny.
Scott Morris has been on Art of the Cut previously to discuss The Creator and Ad Astra. In various capacities he was also worked on several other movies covered by Art of the Cut including Oppenheimer, Don’t Look up, and The Lost City of Z.
This discussion includes - among other things - the difficulties of editing folk music, compressing multiple scenes into a montage, and the sacrifices made cutting a three and a half hour editor’s cut down to size.
If you'd like to read along with this podcast and see trailers, clips and exclusive photos, check out the blog on:
borisfx.com/blog/aotc
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46:59
CONCLAVE
Today on Art of the Cut we speak with Nick Emerson about editing Conclave, for which he’s nominated for an ACE Eddie for Best Edited Feature Film, Dramatic/Theatrical.
Nick has been on Art of the Cut before, when we discussed the film Emma.
His other credits include the feature films Lady MacBeth, Eileen, and Greta, and TV series including The Life and Adventures of Nick Nickleby and Life After Life.
This discussion includes - among other things - the importance of slowly “drip-feeding the story to the audience, the use of slo-mo to add weight and importance, and how and when to break the 180 degree rule.
If you'd like to read along with this podcast and see some of the clips that we talk about, please check out:
borisfx.com/blog/aotc
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37:52
NOSFERATU
Today on Art of the Cut we speak with Louise Ford, ACE about editing Robert Eggers’ “Nosferatu.”
Louise has been on Art of the Cut before, when we discussed Eggers’ The Northman.
Her other credits include the features Wildlife, Bad Education, and The Lighthouse among many others.
This discussion includes - among other things - the importance of sound design in horror films including the revelation of her personal secret sauce…her method to maintain emotional continuity and how she deals with the dark themes of her work with Eggers.
If you want to read along with this podcast and see exclusive images, trailers and film clips, check out:
borisfx.com/blog/aotc
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39:52
MUFASA: THE LION KING
Today on Art of the Cut we speak with Oscar-nominee Joi McMillon, ACE about the editing of Barry Jenkins’ Mufasa: The Lion King.
Joi’s been on Art of the Cut before for Moonlight - for which she was nominated for an Oscar and an ACE Eddie and for Underground Railroad. She also edited Jenkins’ If Beale Street Could Talk among many other projects.
The discussion today is about - among other things - the workflow similarities between Mufasa and Avatar, the benefits of watching dailies with the director and cinematographer, and the learning curve of cutting animation for the first time.
If you want to read along with this podcast, a full transcript - with great visual support of trailers and clips - can be seen at
borisfx.com/blog/aotc
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48:07
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