The Rough Cut features in-depth interviews with the film and tv industry's top post production professionals on the topics of film editing, video editing, sound...
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, ACE Andrew 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 MORRIS Scott 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 UNKNOWN In 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 Credits Visit 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 Visit The Rough Cut on YouTube
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52:33
Gladiator 2
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 SIMPSON Claire 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 RESTIVO Aside 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 2 In 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 Credits Visit 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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41:02
Wicked: Part One
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, ACE In 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 ONE In 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 Credits Visit 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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34:36
Emilia Pérez
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 Welfling Juliette 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 PÉREZ In 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 Credits Visit 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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38:34
A Real Pain
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 Nassau Robert 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 PAIN In 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 Credits Visit 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
The Rough Cut features in-depth interviews with the film and tv industry's top post production professionals on the topics of film editing, video editing, sound design and more. Hosted by @MattFeury.
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