“Bad Boys: Ride or Die” Editors on Mixing Comedy, Action, Tender Moments—and Barry White
Will Smith and Martin Lawrence are back as Miami buddy cops Mike and Marcus, respectively, in Bad Boys: Ride or Die, the fourth installation of the franchise and the second directed by Adil El Arbi and Bilall Fallah. In 2020’s Bad Boys for Life, Mike and Marcus dealt with the murder of their friend and mentor, Captain Conrad Howard (Joe Pantoliano). In Ride or Die, the pair are out to clear his good name.
“Shōgun” Editors Aika Miyake and Maria Gonzales on Cutting Mariko’s Heroic Path
The first season of Justin Marks and Rachel Kondo’s masterful Shōgun was an expertly paced slow-burn drama that plunged viewers into 17th-century Japan with a passionate obsession with the rigors and wonders of the period and location. The new Shōgun shifts its center of balance from the swashbuckling but woefully out of his depth British pirate Blackthorne (Cosmo Jarvis) to his Japanese captors. Blackthorne has washed ashore on a land in the midst of a tectonic power shift,
“Jim Henson: Idea Man” Editors On Making a Documentary the Muppets Creator Would Have Made Himself
Ron Howard’s documentary Jim Henson: Idea Man, out May 31st on Disney+, is not only a tribute to the beloved, brilliant creator of the Muppets but feels like an artistic reflection of the creator’s own work. Cutting between Henson’s best-known creations, Sesame Street and The Muppet Show, along with his early short films, commercials, abstract videos, and Henson family footage, the documentary also uses visual effects, stop-motion animation,
Oscar-Nominated Editor Laurent Sénéchal’s High Wire Act in “Anatomy of a Fall”
After sweeping this awards season with trophies at the BAFTAs, France’s César Awards, Critics Choice, and the recent Spirit Awards, writer-director Justine Triet and co-writer Arthur Harari’s cerebral courtroom drama is headed for the home stretch, with five Academy Award nominations on the line. Anatomy of a Fall is a masterclass of filmmaking across the board, and that surely includes the surgical work done by editor Laurent Sénéchal (C’est ça l’amour,
Architect of Arrakis: “Dune: Part Two” Editor Joe Walker on Forging a Ferocious Masterpiece
There’s a scene in Dune: Part Two where Chani (Zendaya) tells Paul Atreides (Timothée Chalamet), “You’ll never lose me as long as you stay who you are.” Editor Joe Walker, who won an Academy Award for his work on Dune: Part One, allowed the foretelling moment to breathe. “There’s quite a pause after that line,” he shares with The Credits about the tragedy to come. The chemistry between Paul and Chani was just one of several storylines in the second installment of Denis Villeneuve’s Dune saga Walker navigated with ambition and care.
“The Holdovers” Oscar-Nominated Editor Kevin Tent on Creating a 70s Vibe With Timeless Performances
Kevin Tent, nominated for this year’s best editing Oscar for The Holdovers, considers himself “the luckiest editor ever” thanks to his 28-year collaboration with director Alexander Payne. Tent has edited all nine of Payne’s films dating back to his feature directing debut Citizen Ruth (1996). It’s an impressive list that includes Election (1999), About Schmidt (2002), Sideways (2004), Paris, Je T’aime (2006),
Emmy-Nominated “Succession” Editor Ken Eluto on Cutting the Roy Family Down to Size
HBO’s glorious tragicomedy Succession went on for four riveting seasons and finished at a creative zenith. The acerbic squabbling and venomous backstabbing amongst the narcissistic Roy family — led by savage patriarch and leader of the media giant, Waystar Royco, Logan Roy (Brian Cox) — culminated with the end game promised in the series title playing out in a most unexpected way. In the final season of creator/showrunner Jesse Armstrong’s powerhouse family drama,
“The Color Purple” Editor Jon Poll on Finding the Rhythm of This Moving Adaptation
Editor Jon Poll knows comedy structure forward and backward, having worked on such classics as Meet the Parents, The 40-Year-Old Virgin, and Austin Powers: The Spy Who Shagged Me. So, how did he wind up editing The Color Purple? The deeply dramatic musical, directed by Ghanian-born rapper-turned-Beyonce collaborator (Black is King) turned filmmaker Blitz Bazawule, features Fantasia Barrino,
“Maestro” Editor Michelle Tesoro on Orchestrating the Epic Bernstein Love Story
To tell the story of composer Leonard Bernstein’s (Bradley Cooper) courtship with Costa Rican-American actress Felicia Montealegre Cohn Bernstein (Carey Mulligan), Cooper, who also directed, and his editor, Michelle Tesoro (The Queen’s Gambit, When They See Us) varied the technical aesthetic throughout Maestro. As the couple first gets to know each other at a party, followed by wooing one another on stage at an empty theater,
“May December” Editor Affonso Gonçalves on Playing With Identity in Todd Haynes’ New Film
It has been a very busy year for Brazilian-American film editor Affonso Gonçalves, from last fall’s twisted psychological drama Don’t Worry Darling to this year’s doppelgänger medical chiller Dead Ringers and queer wrestling biopic Cassandro. Last week, he returned with director Todd Haynes’ quietly disturbing psychological drama May December.
They have developed a shorthand after working with Haynes on six projects — including the Oscar-nominated Carol and the Emmy-winning Mildred Pierce.
Steven Soderbergh and Co-Director/Editor Jon Kane on Godfrey Reggio’s Ravishing New Film “Once Within a Time”
Filmmaker Godfrey Reggio, whose groundbreaking Koyaanisqatsi (1982) remains influential and much admired, didn’t travel to Boston for the November 3 screening at the Coolidge Corner Theatre of his new film and his first in a decade, Once Within a Time. But executive producer Steven Soderbergh and co-director and editor Jon Kane happily channeled the 83-year-old Reggio’s animated, eccentric spirit in a lively post-film conversation (which this writer moderated) before an enthusiastic crowd that cheered Reggio’s avant-garde fairy tale released in theaters this week from Oscilloscope Laboratories.
Framing Big Laughs & Real Emotion With “Only Murders in the Building” Emmy-Nominated Editor Peggy Tachdjian
Emmy-nominated editor Peggy Tachdjian had never really cut comedy before leaping into the Building, as it were, of Hulu’s hit Only Murders in the Building. The series was created by comedy legend Steven Martin and John Hoffman and is led by Martin, fellow comedy icon Martin Short, and a perfectly cast Selena Gomez as three true crime obsessives living in the same New York City building, the Arconia, who quickly find themselves in the middle of a true crime scenario themselves.
“A Haunting in Venice” Editor Lucy Donaldson on Cutting Hercule Poirot’s Crisis of Confidence
Kenneth Branagh is back as director and star with his latest Agatha Christie film adaptation, A Haunting in Venice, based on Christie’s novel “Hallowe’en Party.” As with his other adaptations, A Haunting in Venice is a who-done-it in which a great cast joins Branagh’s twisted tale, which in the latest installment includes Tina Fey, Michelle Yeoh, Jamie Dornan, and Kelly Reilly.
Branagh once again plays famed Belgian detective Hercule Poirot,
Best of Summer 2023: How Editor Eddie Hamilton Cut “Mission: Impossible – Dead Reckoning Part One” to the Quick
*It’s our annual “Best of Summer” look back at some (not all) of our favorite interviews from the past few months. This non-comprehensive look back includes the Barbenheimer phenomenon and the wonderful interviews that followed those two history-making films, chats with the talented folks behind Mission: Impossible, Spider-Man: Across the Spider-Verse, our profile of MPA Creator Award Recipient and filmmaker extraordinaire Gina Prince-Bythewood and more.
As it is, Tom Cruise’s new Mission: Impossible movie (now playing) runs a hefty two hours and forty-three minutes,
Behind the Cut With Emmy-Nominated Editors From “Dahmer,” “Welcome to Wrexham” & More
An editor’s role requires taking a mountain of footage and carving out a story. Sometimes, that story is inspiring, like the work that Emmy-nominated editors Charlies Little II, ACE, and Michael Brown did in the docu-series Welcome to Wrexham, which followed the story of Hollywood stars Ryan Reynolds and Rob McElhenney buying Wrexham AFC, one of the oldest professional football clubs in the world, and the transformation of the team, and the town,
“Barbie” Editor Nick Houy on Leaving Only the A-Plus Jokes
Barbie is currently dominating the cineplex. Co-writer/director Greta Gerwig‘s film, based on the iconic Mattel doll, has become a runaway success, earning over a billion dollars at the box office and garnering an outpouring of love and passion from audiences across the globe. It’s a story of self-discovery that strikes some serious chords with viewers, and it’s also often very funny, relentlessly inventive, and so clearly a work of passion from the folks on the screen and behind the camera that you leave the theater a little lighter than you went in.
How Editor Eddie Hamilton Cut “Mission: Impossible – Dead Reckoning Part One” to the Quick
As it is, Tom Cruise’s new Mission: Impossible movie (now playing) runs a hefty two hours and forty-three minutes, but what people see in theaters actually represents a very slimmed-down version of the original cut that director Christopher McQuarrie screened for his friends. “It ran four hours,” says Cruise’s go-to editor Eddie Hamilton. “We watched it in a screening room with 40 people, and it was two and a half hours to Venice.
How “Stranger Things” Editor Dean Zimmerman Cut Eddie’s Epic Guitar Solo & That Wild Season 4 Finale
“Divide and conquer while keeping our heads above water was how we approached episode nine,” says editor Dean Zimmerman, who has been on the juggernaut Netflix series Stranger Things since the beginning. Season four sees its beloved characters continue their fight against Vecna, a mind-controlling arch-villain wreaking havoc on the town of Hawkins.
It was the biggest, boldest season of the series yet, and Zimmerman was a key component in keeping the epic finale as tight as a snare drum.
“Flamin’ Hot” Editor Kayla Emter Spices Up Eva Longoria’s Tasty Biopic
If you’re craving a feel-good underdog story with a kick, bite into Flamin’ Hot. The spicy Cheetos flavoring that has become a pop culture icon started with the passion of Mexican-American Frito-Lay janitor Richard Montañez (Jesse Garcia). Told from his sizzling perspective, Eva Longoria’s directorial debut is technically a biopic but has the DNA of a 90s snack commercial. It’s colorful, bursting with energy, and instantly addictive.
“Something we always kept track of is Richard and his energy and his excitement and his passion,” editor Kayla Emter explained.
“Poker Face” Editor Shaheed Qaasim on Cutting Rian Johnson’s Ambitiously Clever Crime Drama
In the Peacock murder mystery series Poker Face, star Natasha Lyonne drifts across the country as Charlie Cale, an itinerant human lie detector who unexpectedly solves a new homicide each week. No single Poker Face story is like any other. And provoked by malice, rage, or envy, neither are the murders. “We really treated each episode as its own independent movie,” explained editor Shaheed Qaasim (Modern Family,
