The Rough Cut

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Black Adam Nov 07, 2022

Show notes

Black Adam - Editor, Mike Sale ACE

BLACK ADAM editor, Mike Sale ACE is no stranger to the action comedy genre - emphasis on comedy. With films to his credit such as; FORGETTING SARAH MARSHALL (2008), BRIDESMAIDS (2011), THE HANGOVER II (2011), WE'RE THE MILLERS (2013), CENTRAL INTELLIGENCE (2016), SKYSCRAPER (2018), SPENCER CONFIDENTIAL (2020) and RED NOTICE (2021), it should be obvious to anyone that Mike knows how to edit movies about cracking jokes and breaking bones. But the latest entry in the DCEU marks Sale's first venture into comic book cinema. Reunited for the fourth time with megastar Dwayne "The Rock" Johnson, Mike brought his signature editorial enthusiasm and aesthetic to BLACK ADAM.

The story of BLACK ADAM begins in ancient Kahndaq, where a man named Teth Adam was bestowed the almighty powers of the gods. After using these powers for vengeance, he was imprisoned, becoming Black Adam. Nearly 5,000 years have passed, and Black Adam has gone from man to myth to legend. Now free, his unique form of justice, born out of rage, is challenged by modern-day heroes who form the Justice Society: Hawkman, Dr. Fate, Atom Smasher and Cyclone.

In our discussion with BLACK ADAM editor, Mike Sale ACE, we talk about:

How size matters in the editing suite
Taking acting classes but staying away from actors
Comedy, comedy, comedy, exposition, comedy
Stephen King's secret weapon for editors
Using "yacht rock" to make violence fun

The Credits

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Indie Filmmaking - "American Murderer" Oct 31, 2022

Show notes

Writer / Director - Matthew Gentile and Editor - Matt Allen

Friends and fellow American Film Institute vets, Matthew Gentile and Matt Allen, turned their long walks in Los Feliz into a collaborative indie filmmaking venture that would become their first project together, AMERICAN MURDERER. Prior to this film, Matthew Gentile was biding his time as a script reader and making a name for himself directing short films. Meanwhile, ACE Eric Zumbrunnen Fellowship winner Matt Allen was racking up experience as an assistant, working with Oscar®-nominated editor Matt Chesse on features such as CHRISTOPHER ROBIN (2018).

Based on a true story, AMERICAN MURDERER follows Jason Derek Brown (Tom Pelphrey), a charismatic con man bankrolling his extravagant lifestyle through a series of scams. On Brown's trail: Lance Leising (Ryan Phillippe), a dogged FBI special agent determined to put Brown behind bars. When Brown's funds run low and his past catches up with him, he plots his most elaborate scheme yet, pitting himself against Leising in a deadly game of cat and mouse -- and becoming the most unlikely and elusive fugitive on the FBI's most-wanted list.

Making AMERICAN MURDERER

In our discussion with Matthew and Matt, we talk about:

Finding your people in Hollywood
Going from script reader to script writer
The power of pre-vis for indie filmmaking
Getting too big for your "shorts"
Budgeting for kindness

The Credits

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Making the Cut at Pixar Oct 24, 2022

Show notes

MAKING THE CUT AT PIXAR authors - Bobbie O'Steen and Bill Kinder

MAKING THE CUT AT PIXAR co-authors Bill Kinder and Bobbie O'Steen are experts in the field of post production. Kinder was the founding Director of Editorial and Post Production at Pixar from 1996–2014 and O'Steen is a teacher and film historian, specializing in editing, as well as the author of The Invisible Cut and Cut to the Chase. Together they have created a multimedia "book" that guides readers on a journey through every stage of production on an animated film; from storyboards to virtual cameras and final animation.

With unprecedented access to the Pixar edit suite, this authoritative project highlights the central role film editors play in some of the most critically acclaimed and commercially successful movies of all time. Featuring exclusive interviews with animation editors and other creative leads, MAKING THE CUT AT PIXAR includes nearly 90 minutes of video segments that include never-before-seen works in progress, deleted scenes and demonstrations; all of which shed light on how these beloved stories are crafted. The challenges and essential contributions of editors in animation have never before been examined in such depth and detail.

In addition to exploring method and craft, this book provides important context for the editor in film history, the evolution of technology, and Pixar's uniquely collaborative studio culture. A must-read for students of digital filmmaking methods, filmmakers in all aspects of production, and fans of Pixar movies, this uniquely educational, historical, and entertaining book sheds light on how beloved stories are crafted from the perspective of crucial members of the filmmaking team.

Writing "Making the Cut at Pixar"

In our discussion with Bobbie and Bill, we talk about:

The "big bang" of TOY STORY on the world of CGI Animation
Editor Lee Unkrich introducing Avid editing into traditional animation
How CGI "flipped the script" on the way editors impact the writing process
The PIXAR origin story
Sharpening your ear to make believable cuts

The Credits

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Marvel's "Werewolf By Night" Oct 17, 2022

Show notes

Director / Composer - Michael Giacchino and Editor - Jeffrey Ford ACE

WEREWOLF BY NIGHT'S Michael Giacchino and Jeffrey Ford have had many occasions to work together in the past, but never quite like this. While WEREWOLF BY NIGHT is Michael's first time in the director's chair for Marvel Studios, he's been the composer on five of their features, two of which were also cut by Marvel stalwart, Jeffrey Ford. However, this special presentation for Disney + marks their first time collaborating as director and editor.

WEREWOLF BY NIGHT begins after the death of legendary monster hunter, Ulysses Bloodstone. Five experienced monster hunters are summoned by Ulysses' widow, Verussa, to Bloodstone Manor where they are instructed to participate in a competitive hunt to determine their new leader. The object of their hunt is to retrieve the powerful Bloodstone from an unknown foe.

MICHAEL GIACCHINO

In addition to his work as composer on WEREWOLF BY NIGHT, Michael has also scored the Marvel features; DOCTOR STRANGE (2016), SPIDER-MAN: HOMECOMING (2017), SPIDER-MAN: FAR FROM HOME (2019), SPIDER-MAN: NO WAY HOME (2021) and THOR: LOVE AND THUNDER (2022). Outside of the MCU, Michael's work can also be heard on; RATATOUILLE (2007) - for which he won an Oscar®, JURASSIC WORLD (2015) and Taika Waititi's upcoming feature, NEXT GOAL WINS (2023).

JEFFREY FORD ACE

While Jeff Ford's career has been punctuated by the excellent work he has done in smaller projects such as; ONE HOUR PHOTO (2002), BLOODWORTH (2010) and THE COMEY RULE (2020), it is his impressive and unmatched roster of eleven MCU films (plus THE FALCON AND THE WINTER SOLDIER and WEREWOLF BY NIGHT for Disney+) for which he is most well known.

Making Marvel's Werewolf by Night

In our discussion with Michael and Jeffrey, we talk about:

Honoring the horror films of the past
The advantages of having the editor on set
Brad Bird getting inside of your head
The Easter eggs of Fireball Island
How to transpose for a flaming tuba

The Credits

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Hear Jeffrey Ford discuss AVENGERS: ENDGAME and SPIDER-MAN: NO WAY HOME

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Amsterdam Oct 10, 2022

Show notes

Amsterdam - Editor, Jay Cassidy ACE

AMSTERDAM editor, Jay Cassidy ACE has cultivated an impressive career spanning almost fifty years and approximately sixty different projects. Cassidy has worked extensively with directors such as David O. Russell and Sean Penn, as well as documentarian Davis Guggenheim. Thrice-nominated for an Oscar for his work on Penn's INTO THE WILD (2008); as well as Russell's SILVER LININGS PLAYBOOK (2013) and AMERICAN HUSTLE (2014), Jay is not one to settle for status quo when it comes to making the most of technology in the editing room. He continues to lean into new developments in hardware, software and color science for his craft.

AMSTERDAM is a 2022 period/mystery/comedy/thriller film directed, written, and produced by David O. Russell. It stars an ensemble cast, led by Christian Bale, Margot Robbie, and John David Washington; featuring Chris Rock, Anya Taylor-Joy, Zoe Saldaña, Mike Myers, Rami Malek, and Robert De Niro. The film follows three friends—a doctor, a nurse and a lawyer—who are caught in the mysterious murder of a U.S. senator in the 1930's. Filmed in Los Angeles from January to March 2021, AMSTERDAM marks Russell's first film since JOY (2015).

In our discussion with AMSTERDAM editor, Jay Cassidy ACE, we talk about:

Balancing context setting and character development
The benefits of monitoring in the DCI-P3 color space
Working with actors in the cutting room
Collaborating with Oscar®-caliber additional editors
The world's most amazing microphone

The Credits

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Listen to AMSTERDAM additional editor, Alan Baumgarten ACE discuss his work on THE TRIAL OF THE CHICAGO SEVEN

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The Woman King Oct 03, 2022

Show notes

The Woman King - Editor, Terilyn A. Shropshire ACE

For over twenty years editor Terilyn A. Shropshire ACE and director Gina Prince-Bythewood have worked hand-in-hand to entertain and inspire audiences with films dating back to Gina's directorial debut, LOVE & BASKETBALL (2000). Following their hit action film, THE OLD GUARD (2020), Teri and Gina have joined forces once again to create an epic tale about the Agojie, a fierce sisterhood of African warriors who fought for the kingdom of Dahomey in the 1800s; with skills and a ferocity unlike anything the world has ever seen. Inspired by true events, THE WOMAN KING follows the emotionally epic journey of General Nanisca (Oscar®-winner Viola Davis) as she trains the next generation of recruits and readies them for battle against an enemy determined to destroy their way of life.

In our discussion with THE WOMAN KING editor, Terilyn A. Shropshire ACE, we talk about:

Caring about characters to create better action
"Getting it right" so studios will give the next generation a chance
How to make an action movie "intimately epic"
Staying away from temp score created by your composer
Trusting your audience

The Credits

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Listen to Terilyn talk about her work on the film, THE OLD GUARD

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Director - Doug Liman (2011) Sep 26, 2022

Show notes

Director - Doug Liman

Director Doug Liman sat down with us at his NYC office in 2011 to discuss his early beginnings in the film business as well as his thoughts on; film school, editing and "making it" in Hollywood.

Doug Liman is known for directing the films; SWINGERS (1996), GO (1999), THE BOURNE IDENTITY (2002), MR. AND MRS. SMITH (2007), JUMPER (2008), FAIR GAME (2010), EDGE OF TOMORROW (2014), CHAOS WALKING (2021).

Doug is currently in production on a remake of the Patrick Swayze classic, ROAD HOUSE. A sequel to EDGE OF TOMORROW is also rumored to be in the works.

In our discussion with director Doug Liman we talk about:

Life before SWINGERS
Whether anyone ever really "makes it" in Hollywood
The merits of film school
Knowing how to use an NLE vs knowing how to edit

The Credits

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Listen to editor Doc Crotzer ACE talk about his work on the Doug Liman film, CHAOS WALKING

Hear SWINGERS and GO editor Stephen Mirrione ACE talk about cutting THE MIDNIGHT SKY

EDGE OF TOMORROW editor, Laura Jennings on editing MALEFICENT: MISTRESS OF EVIL

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Crafty Apes - The Art and Business of VFX Sep 19, 2022

Show notes

CRAFTY APES - VFX PRODUCER, SARAH McCULLEY and VFX SUPERVISOR, KOLBY KEMBER

With offices in; Los Angeles, Baton Rouge, Montreal, Atlanta, New York City and Vancouver, Crafty Apes is a full-service visual effects company. Beginning as a VFX studio for film and TV, Crafty Apes has grown to include a talented roster of creative and production supervisors that offer set supervision, VFX consultation and high-end CG and previsualization services. Their cinematic work can be seen in such films as; WHERE THE CRAWDADS SING (2022), DR. STRANGE IN THE MULTIVERSE OF MADNESS (2022), THE BATMAN (2022), GHOSTBUSTERS AFTERLIFE (2021), LICORICE PIZZA (2021) and SPIDER-MAN: NO WAY HOME (2021). The work of Crafty Apes also features heavily in TV/Streamer shows like; STRANGER THINGS, THE ORVILLE, MOON KNIGHT, PEACEMAKER, STAR TREK: DISCOVERY and COBRA-KAI.

SARAH McCULLEY

Sarah has worked as a VFX Producer on; WHERE THE CRAWDADS SINGS (2022), OUR KIND OF PEOPLE (2022), RAY DONOVAN (2019-20), COBRA-KAI (2019) and a VFX Coordinator on HOMELAND (2016-17), SANTA CLARITA DIET (2017) and TRUE DETECTIVE (2014).

KOLBY KEMBER

Kolby's work as VFX Supervisor can be seen in; WHERE THE CRAWDADS SING (2022), HIGHTOWN (2021) and BLACK LIGHTNING (2019-20). He has also served as Compositor on NOBODY (2021), PENNYWORTH (2019) and THE ORVILLE (2019).

In our discussion with the Sarah McCulley and Kolby Kember of Crafty Apes, we talk about:

The major phases of VFX
Different roles within the VFX process
Where communication begins between production and VFX
How VFX in television compares to feature film
How to cut corners without cutting quality

The Credits

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Thirteen Lives Sep 12, 2022

Show notes

Editor - James D. Wilcox, ACE

THIRTEEN LIVES editor James D. Wilcox joins the Rough Cut to talk about cutting Ron Howard's latest film. James first collaborated with Howard on the series, Genius, and received an ACE Eddie award for his work on the episode, "Einstein - Chapter 1". From there, James would do another episode of Genius ("Aretha"), as well as cutting Howard's adaptation of the J.D. Vance book, HILBILLY ELEGY; which would be Wilcox's first feature editing job. Unlike most feature editors who started their journey in post as an assistant, James actually started out as an editor, but working in news and sports. This experience proved invaluable to him later in his career when he started cutting scripted shows and features.

THIRTEEN LIVES recounts the incredible true story of the tremendous global effort to rescue a Thai soccer team who become trapped in the Tham Luang cave during an unexpected rainstorm. Faced with insurmountable odds, a team of the world's most skilled and experienced divers -- uniquely able to navigate the maze of flooded, narrow cave tunnels -- join with Thai forces and more than 10,000 volunteers to attempt a harrowing rescue of the twelve boys and their coach. With impossibly high stakes and the entire world watching, the group embarks on their most challenging dive yet, showcasing the limitlessness of the human spirit in the process.

Editing THIRTEEN LIVES

In our discussion with THIRTEEN LIVES editor, James D. Wilcox we talk about:

The evolution of his collaboration with director, Ron Howard
Cutting in a language you don't speak
Maintaining the scale and geography for the audience
Creating tension with an underwater soundscape
Winding an unseen clock

The Credits

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BODIES BODIES BODIES Aug 29, 2022

Show notes

Editors - Julia Bloch and Taylor Levy

BODIES BODIES BODIES editors Julia Bloch and Taylor Levy combined their editorial talents, albeit not always at the same time, to craft a sly and satirical take on the horror genre. Although the two NYC-based editors had never (really) met before, each had a few "prerequisite" genre films to their credits and that experience served them well in the cozy confines of their shared cutting room.

The film's distributor, A24, describes the plot of BODIES BODIES BODIES as such; When a group of rich 20-somethings plan a hurricane party at a remote family mansion, a party game goes awry in this fresh and funny look at backstabbing, fake friends, and one party gone very, very wrong.

JULIA BLOCH

Julia Bloch has edited such films as; Chaos Walking (2021), His House (2020), Hold the Dark (2018), The Wall (2017), Green Room (2015) and Blue Ruin (2013).

TAYLOR LEVY

Editor Taylor Levy's work can be seen in; Mona Lisa and the Blood Moon (2021), Prisoners of the Ghostland (2021), Drunk Bus (2020) and Yellow Rose (2019). He also assisted on the critically-acclaimed film, Manchester-by-the-Sea (2016).

Editing BODIES BODIES BODIES

In our discussion with the editors of BODIES BODIES BODIES, we talk about: