Editors - Chris Patterson and Dirk Westervelt ACE EENIE MEANIE editors Chris Patterson and Dirk Westervelt reunite after a six-year break from their first co-editing effort, ZOMBIELAND: DOUBLE TAP. From its indie vibe to its seventies-inspired aesthetic, EENIE MEANIE doesn’t shy away from its influences. Chris shares how both he and writer/director Shawn Simmons gravitated towards filmmakers like Steven Soderbergh, drawing inspiration from classics like OUT OF SIGHT and OCEAN'S ELEVEN. EENIE MEANIE tells the story of Edie, a reformed teenage getaway driver who gets dragged back into her unsavoury past when a former employer offers her an opportunity to save the life of her chronically unreliable ex-boyfriend. The film was written and directed by Shawn Simmons, making his directorial debut. CHRIS PATTERSON On his way to co-editing ZOMBIELAND: DOUBLE TAP with Dirk, Chris began his career assisting on films such as THE ROYAL TENENBAUMS (2001), ANALYZE THAT (2002), THE TOWN (2010), ZERO DARK THIRTY (2012) and READY PLAYER ONE (2018). DIRK WESTERVELT ACE When he’s not cutting for James Mangold on projects such as; LOGAN (2017), FORD v FERRARI (2019), and INDIANA JONES and THE DIAL OF DESTINY (2023), Dirk’s editing chops can be seen in DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019). The Credits Visit ExtremeMusic for all your production audio needs Hear Chris and Dirk talk about cutting Zombieland: Double Tap Listen to Dirk and editors Andrew Buckland and Mike McCusker discuss Indiana Jones and the Dial of Destiny 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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The Naked Gun
Editor - Brian Scott Olds The Naked Gun editor Brian Scott Olds knows that comedy thrives on the elements of surprise and timing. He applied this philosophy to every aspect of the film—from physical gags to witty word play and silly sound design. But making a film that respects the legacy of its predecessor while updating its essence for today is no laughing matter. Brian and director Akiva Schaffer had a clear mission: maintain the comedic tone and tenor from the original while spoofing modern-day blockbusters like Mission Impossible. And stop calling me Shirley. Avika Schaffer's take on The Naked Gun features Lieutenant Frank Drebin Jr (Liam Neeson) working as a police officer like his legendary father. In order to save Police Squad from shutting down he must solve the mystery behind.....oh, who cares?! This is The Naked Gun! The plot doesn't matter! Brian Scott Olds Editor Brian Scott Olds is known for his work on Central Intelligence (2016), The Happytime Murders (2018), The King of Staten Island (2020) and Chip 'n Dale: Rescue Rangers (2022). The Credits Visit ExtremeMusic for all your production audio needs Streamline your postproduction pipeline with Shade See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
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The Fantastic Four - First Steps
Editors - Nona Khodai ACE and Tim Roche The Fantastic Four: First Steps sees editors Nona Khodai and Tim Roche reunite for the 37th film in the Marvel Cinematic Universe (MCU) and the second reboot of the Fantastic Four film series. The film also marks the first time the two have worked together since Marvel's live action series debut, WandaVision. Although each had worked with him separately before, WandaVision was the first time both Nona and Tim worked with director Matt Shakman on a Marvel project. The Fantastic Four: First Steps takes place in 1964, as the world celebrates the fourth anniversary of astronauts Reed Richards, Sue Storm, Johnny Storm, and Ben Grimm becoming the superhero team known as the Fantastic Four (Mister Fantastic, Invisible Woman, Human Torch and the Thing). But the celebration doesn't last for long as the four face their most daunting challenge yet as they defend Earth from Galactus and Silver Surfer. NONA KHODAI ACE A Southern California native and graduate of USC's Cinematic Arts school, Nona started her career as an assistant on such films as the Bad Robot production, Super 8. Her first foray as an editor on a "superhero" project came courtesy of showrunner Eric Kripke who brought her aboard the The Boys, where she would work with director Matt Shakman for the first time. Nona was twice nominted for an Emmy award for her work on Marvel's WandaVision, and nominated for another Emmy for Marvel's Ms. Marvel. TIM ROCHE Known for his work on comedy series like Silicon Valley and It's Always Sunny in Philadelphia, as well as for his contributions to the Marvel Cinematic Universe, including WandaVision, Thor: Love and Thunder and She-Hulk: Attorney at Law, Tim has received five Emmy nominations for his work, including one this year for Welcom To Wrexham, a show that has already brought him an ACE Eddie Award. The Credits Visit ExtremeMusic for all your production audio needs Streamline your postproduction pipeline with Shade Listen to Nona and Tim talk about cutting WandaVision Hear Nona share her experiences editing The Boys Check out Tim's podcast about the post workflow for Hawkeye 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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Andor
Editor - Yan Miles ACE, BFE Andor editor Yan Miles partly attributes the decision not to extensively use the Stagecraft "volume" technology as the reason why his series has a distinctly different look and feel to other shows under the Star Wars banner. Instead, Andor leans into real-world environments, capturing the grit and authenticity that Yan believes enhances the narrative. Another significant factor in that differentiation is Tony Gilroy's writing, where the narrative complexity lies. Despite knowing the ultimate fate of characters like Cassian Andor, the series thrives on the uncertainty surrounding minor characters and their arcs. It's in these uncharted territories that the tension in Andor finds its heartbeat. Season 2 of Andor continues the chronicling of Cassian Andor's journey as he becomes a key figure in the burgeoning Rebel Alliance against the Galactic Empire. The season covers the four years leading up to the events of Rogue One, with each arc spanning a year. Yan Miles ACE, BFE Yan Miles ACE, BFE is an acclaimed film and television editor whose work spans some of the most prestigious and visually dynamic series of the last decade. A member of both American Cinema Editors and British Film Editors, Yan has brought his keen sense of story and rhythm to internationally celebrated productions such as The Crown, Sherlock, and Game of Thrones. Known for his ability to blend emotional nuance with bold editorial choices, his work has helped define the tone and texture of modern prestige television. The Credits Visit ExtremeMusic for all your production audio needs Streamline your postproduction pipeline with Shade See which model of Avid Media Composer is right for you Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
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Superman
Editors - William Hoy, ACE and Craig Alpert, ACE Superman editors William Hoy ACE and Craig Alpert ACE didn't need to be told there was a lot riding on this movie. Not only does it represent James Gunn's view on who Superman needs to be for modern movie-going audiences, it also kicks off Gunn's vision of the new DCU. From the first minute of the film, viewers encounter a Superman who bleeds and is grappling with not just his limitations, but also his sense of purpose. It’s these complex layers that Bill and Craig balanced through their masterful editing. In James Gunn's new take on the most iconic character in the superhero realm, Superman must prove to the world that he is their protector and not a thread, after billionaire Lex Luthor enacts a plan to turn public opinion against him. William Hoy, ACE Bill is known for his work on No Way Out (1987), Dance with Wolves (1990), The Bone Collector (1999), Dawn of the Planet of The Apes (2014), War for the Planet of the Apes (2017) and The Batman (2022). Craig Alpert, ACE Craig is known for cutting Deadpool 2 (2018), Borat: Subsequent Moviefilm (2020), The Lost City (2022) and Blue Beetle (2023). He was twice nominated for an ACE Eddie award in the category of Best Edited Feature Film: Comedy (Deadpool 2, Borat: Subsequent Moviefilm). The Credits Visit ExtremeMusic for all your production audio needs Streamline your postproduction pipeline with Shade Hear Craig talk about his work on BORAT: SUBSEQUENT MOVIEFILM Listen to Bill discuss cutting THE BATMAN and THE CALL OF THE WILD See which model of Avid Media Composer is right for you 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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