ART OF THE CUT with mega-movie editor, Roger Barton


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Roger Barton has edited many of the biggest and most iconic films in Hollywood history. As an associate editor, he worked on Titanic and Armageddon. His films as editor include, Gone in 60 Seconds, Pearl Harbor, Star Wars: Episode III – Revenge of the Sith, Eragon, Speed Racer, all four Transformer movies, Pirates of the Caribbean: Dead Men Tell No Tales, Terminator Genisys, and Godzilla: King of the Monsters, among many others. He’s currently editing Michael Bay’s 6 Underground.

(This interview was transcribed with SpeedScriber. Thanks to Martin Baker at Digital Heaven)

Roger Barton in his

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71st Emmy Awards – Art of the Cut nominated editors


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Congratulations to all of the nominated picture editors for this year’s Emmy Awards. (71st Emmy Awards)

If you’re interested in reading about the editors involved in the nominations for Best Picture Editing, here is a list of the nominees who have been interviewed for Art of the Cut, including links to their interviews.

71st Emmy Awards

Outstanding Single-Camera Picture Editing For A Drama Series

The Handmaid’s Tale • The Word • Hulu • MGM, Daniel Wilson Productions, The Littlefield Company, White Oak Pictures
Wendy Hallam Martin, ACE, Editor

Ozark • One Way Out • Netflix • Media Rights Capital
Cindy

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ART OF THE CUT with documentary editor Paul Crowder, ACE


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Paul Crowder, ACE is a London-born, L.A.-based editor. I last spoke with him when he edited Ron Howard’s fantastic tribute to the Fab Four: “The Beatles: Eight Days a Week – The Touring Years.” Before cutting “Eight Days,” Paul edited and directed dozens of documentaries and shows and was probably most famously associated with the 2001 Sundance Audience Award-winning documentary, “Dogtown and Z-Boys.”

Paul and I reconnected for this interview as he completed another musical documentary collaboration with Ron Howard about the world-famous operatic tenor, Luciano Pavarotti.

(This interview was transcribed with SpeedScriber. Thanks to Martin

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ART OF THE CUT with “Chernobyl” editor, Simon Smith


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Editor Simon Smith has worked on a variety of TV series in the UK, including National Treasure, Electric Dreams, Victoria and Endeavour, among others. His latest assignment was the popular and buzz-worthy Chernobyl on HBO.

(This interview was transcribed with SpeedScriber. Thanks to Martin Baker at Digital Heaven)

This interview will also soon be available as a podcast.

HULLFISH: My son and I have been addicted to Chernobyl, we really love it, It’s great work. Congratulations! I understand you edited some of the episodes, could you explain what your role was on the show?

SMITH: Thank you so

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ART OF THE CUT with doc director/editor Todd Miller on “Apollo 11”


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I saw Apollo 11 in theatres several months ago, and recently the film has aired on CNN. It was gorgeous and fascinating and – in my eyes, at least – very unusual. I knew that whoever put it together had to have overcome a lot of obstacles, and beyond that, had managed to tell a very compelling story. I was excited to finally track down director/editor Todd Miller and we had a lengthy discussion of numerous fascinating aspects of making the film. This film has incredible scope and size – audio alone was over 18,000 of material – and Todd

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ART OF THE CUT with Tiffany Hillkurtz, editor of “The Secret Life of Pets 2”


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Tiffany Hillkurtz started working in animation in 1997 as an assistant in the animation department. She continued through the ranks of editorial on films like Space Chimps, Astro Boy, Madagascar 3: Europe’s Most Wanted, Free Birds, Penguins of Madagascar, Minions, and The Grinch. (My favorite imdb note on Hillkurtz is that she played a Jawa in Star Wars: Episode IV – A New Hope  including an adorable photo of her in costume.)

Art of the Cut spoke with Hillkurtz about her work as the editor of The Secret Life of Pets 2.

(This interview was transcribed with SpeedScriber.

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ART OF THE CUT with Oscar-winning editor, Lee Smith, ACE on “Dark Phoenix”


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Lee Smith, ACE, from “Spectre” interview

I last spoke to Lee Smith, ACE, when he edited Dunkirk, which won him an Oscar for Best Achievement in Film Editing and the ACE EDDIE for Best Edited Feature Film – Dramatic. He has cut numerous other films with Christopher Nolan, including Interstellar, The Dark Knight Rises, Inception (for which he was nominated for an ACE EDDIE), The Dark Knight (for which he was nominated for an Oscar for Best Editing), The Prestige and Batman Begins. And that’s not to mention his work for a host of other directors, like David Ayer,

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ART OF THE CUT with the editors of “Yellowstone”


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The TV show Yellowstone, on the Paramount Network, is directed by Tayler Sheridan. Sheridan also wrote and directed the chilling crime drama, Wind River. His editor on that project was Gary Roach, ACE. Roach was nominated for an ACE EDDIE and for an Oscar for his editing of American Sniper. His other films include Jersey Boys, Prisoners, Trouble with the Curve, Gran Torino and Letters from Iwo Jima. Before that, he was an assistant editor to Oscar-winning editor – and long-time Clint Eastwood collaborator – Joel Cox, whom I’ve interviewed.

Co-editing with Roach on Yellowstone is Evan Ahlgren. Ahlgren

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How to control Avid Media Composer’s Audio Mixer in real-time with an iPad


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I saw a request on Facebook or Twitter for a tutorial about the Avid Mixer. What does LIVE MODE do?

That got me thinking that I miss having a control device – like an Avid Artist Mix. I’d done an old tutorial showing how the iPad could control the color trackballs on some color grading software, and thought that there must be something like that for audio.

Well, there is. You can download the PT Control (ProTools) app from the iPad/iTunes App store and connect it via WiFi to your Avid Media Composer and – using the multi-touch capabilities of Continue reading “How to control Avid Media Composer’s Audio Mixer in real-time with an iPad”

ART OF THE CUT with Oscar-nominated editor Martin Pensa, ACE


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In 2014, Martin Pensa, ACE was nominated for an Academy Award for Best Achievement in Editing for Dallas Buyers Club.  His work since then has included. Togo (which is currently in post),  A Million Little Pieces, November Criminals, Tragedy Girls, By the Sea and Wild (the 2014 Reese Witherspoon film). Pensa also has a background in VFX.

Our discussion here centers on the recent release, Fast Color.

(This interview was transcribed with SpeedScriber. Thanks to Martin Baker at Digital Heaven)

HULLFISH: Martin, I couldn’t go see the movie, but I paid for my assistant editor, Mimi Wilcox,

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ART OF THE CUT with the editors of “The Marvelous Mrs. Maisel”


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The Marvelous Mrs. Maisel is on Amazon Prime Video and is in its second season. Last season, editor Kate Sanford, ACE, won the ACE Eddie for Best Edited Comedy Series for Non-Commercial Television for The Marvelous Mrs. Maisel Episode: “Simone.” Sanford has won previous ACE Eddies for Treme and The Wire. Tim Streeto, ACE is the other editor on the series and was nominated for an ACE Eddie for his work on the series as well, for the episode, “We’re Going to the Catskills!” Streeto also has a past ACE Eddie nomination for “Boardwalk Empire.”

Sanford and

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ART OF THE CUT with Evan Schiff, editor of “John Wick 3”


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Evan Schiff started his film industry career at the Stan Winston animatronic studio in 1999 working on such films as Jurassic Park III and Terminator 3: Rise of the Machines. His work as a VFX editor or assistant editor include work on Sky Captain and the World of Tomorrow, Rocky Balboa and Pan’s Labyrinth, Rambo, Hellboy 2 and Star Trek (2009 movie). A major turn in his career came as an assistant editor to legendary editor Paul Hirsch, ACE on Mission: Impossible – Ghost Protocol and a string of films after that. Promoted to the editor’s chair, he has cut

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ART OF THE CUT with Jeffrey Ford, ACE, of “Avengers: Endgame”


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Jeffrey Ford, ACE and Matthew Schmidt have been collaborating in the cutting room since the first Avengers movie. Back then Matthew was an assistant but rose quickly to the editing chair and has been co-editing with Ford since Captain America: The Winter Soldier. Together they have worked on The Avengers, Iron Man 3, Captain America: The Winter Soldier, Avengers: Age of Ultron, Captain America: Civil War, Avengers: Infinity War, and now, Avengers, Endgame. 

Ford also edited Captain America: The First Avenger, Public Enemies, and One Hour Photo among others.

My previous interviews with Ford include his work on Avengers:

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ART OF THE CUT WITH “Pet Sematary” editor, Sarah Broshar


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Sarah Broshar started as an editorial assistant on Sky Captain and the World of Tomorrow in 2004. Broshar was editing by 2009, but her big break was as an assistant editor on Steven Spielberg’s Adventures of Tin Tin under legendary editor, Michael Kahn, ACE. On Spielberg’s Bridge of Spies she moved up to Additional Editor and on Ready Player One and The Post, she co-edited with Kahn. I interviewed Kahn and Broshar after they simultaneously cut both The Post and Ready Player One.

Most recently, Broshar cut Pet Semetary for directors Kevin Kolsch and Dennis Widmyer.

(This interview was transcribed

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ART OF THE CUT WITH Martin Bernfeld, editor of “Hellboy”


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Editor Martin Bernfeld in the cutting room for Hellboy.

Martin Bernfeld has been editing features for 15 years, including Project Almanac, Paranormal Activity: The Ghost Dimension, Power Rangers, The Babysitter, and Bent.

For this interview, I talked with Martin about his latest film, Hellboy.

(This interview was transcribed with SpeedScriber. Thanks to Martin Baker at Digital Heaven)

HULLFISH: What was post-production schedule like? When did they start principal photography?

BERNFELD: They started shooting Hellboy in the middle of September 2017 in Bulgaria, and I was hired at the end of October. So I jumped on a plane after getting

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ART OF THE CUT with Phyllis Housen, ACE, editor of “Clemency”


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Phyllis Housen, ACE has been a feature film editor since the early ’90s, including Cargo, To Whom it May Concern, and Dream for an Insomniac. She was also an assistant editor under the legendary editor, Sally Menke, ACE, on the Tarantino Kill Bill films. In addition to her narrative feature film and TV work, she has also edited documentaries.

We spoke at Sundance Film Festival about editing Clemency, an indie film starring Alfre Woodard and directed by Chinonye Chukwu.

(This interview was transcribed with SpeedScriber. Thanks to Martin Baker at Digital Heaven)

HULLFISH: You’ve edited on film and

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ART OF THE CUT with Oscar winner, Paul Hirsch, ACE


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Paul Hirsch, ACE has edited some of the most iconic films in cinema history: Carrie, Star Wars; Star Wars: The Empire Strikes Back; Ferris Bueller’s Day Off; Planes, Trains and Automobiles; Mission: Impossible; Ray; and The Mummy among many, many others in a career that goes back 50 years.

We spoke about a wide range of editing topics. Paul asked me to watch one of his early films, Obsession; so we started our discussion there.

(This interview was transcribed with SpeedScriber. Thanks to Martin Baker at Digital Heaven)

(Also, I almost always post ONLY images and videos that

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ART OF THE CUT with Harry Yoon, editor of “Best of Enemies”


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Harry Yoon has been a feature editor for the last 10 years. He has worked with some of the top Oscar-winning editors, including William Goldenberg, Stephen Mirrione and Tom Cross. Yoon’s own work includes, Let Go, Welcome to the Jungle, and Detriot. He was also the Additional Editor on First Man. In addition, he has a background as a VFX editor or VFX Assistant for films like Hunger Games, The Revenant, and Zero Dark Thirty.

I have interviewed Yoon previously with William Goldenberg for Detroit. This interview focuses on his recent work editing the film Best of Enemies.

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ART OF THE CUT with editor Chris Lebenzon, ACE on “Dumbo”


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Chris Lebenzon, ACE has been widely recognized by his peers with numerous ACE Eddie nominations and wins, including for The Secret Life of Plants (1978), Crimson Tide (1995), Charlie and the Chocolate Factory (2005), Sweeney Todd (2007), Alice in Wonderland (2010), and Frankenweenie (2012). He also received Oscar nominations for editing Crimson Tide and Top Gun.

Other notable work includes Days of Thunder, Batman Returns, Armageddon, Pearl Harbor and Planet of the Apes. 

I spoke to him several weeks ago as he wrapped up work on his latest collaboration with Tim Burton, Disney’s live-action version of Dumbo. Lebenzon

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ART OF THE CUT with Nicholas Monsour, editor of “US”


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Nicholas Monsour ‘s previous feature work as an editor has included Keanu and Action Poiut. He also has experience in editing TV series like Key and Peele, The O.G., Kobra Kai and the pilot for the series Whiskey Cavalier.

We spoke about his latest project, Jordan Peele’s thriller, Us.

(This interview was transcribed with SpeedScriber. Thanks to Martin Baker at Digital Heaven)

HULLFISH: Let’s talk about the schedule.
MONSOUR: We had about a forty-two day shoot. They started that in July and I was cutting from day one of production at Universal and then as soon as they

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