Web Exclusives
As ‘Better Call Saul’ Calls It Quits, Skip Macdonald and Nick Forshager Talk Post-Production
By Rob Feld Vince Gilligan’s “Breaking Bad” and its spinoff, “Better Call Saul” (co-created with Peter Gould), played significant […]
Picture Editors
Cover Story
High Crimes: How the Editing Team Resurrected the Drama of Watergate in ‘Gaslit’
How the Editing Team Resurrected Watergate in ‘Gaslit […]
Features
Robert Florio Talks Cutting 100 Episodes of the CBS Hit ‘NCIS: Los Angeles’
Robert Florio Has Cut 100 Episodes of the Cbs Hit ‘Ncis: Los Angeles.’ ‘I Wish I Had Gotten Into Series Many Years Earlier,’ Says the Onetime Indie-Movie Gofer. […]
Featured Stories
WHAT OUR MEMBERS DO: Lucy Donaldson, On-Call Picture Editor
“Work hard, be humble, be ready.” […]
Featured Stories
Chris Witt Talks Editing the Bank Heist Film ‘Breaking’
“Because of the way I bootstrapped my career, it has been very wide, eclectic and involved many genres.” […]
Web Exclusives
Editor Jon Poll on Finding the Laughs and the Heart in the New ‘Father of the Bride’
“This is what is really satisfying about the film: Your guard is let down by the humor, and you don’t expect that you’re going to have as emotional an experience in the end as you do.” […]
Web Exclusives
‘Bullet Train’ Editor Elisabet Ronaldsdóttir on ‘John Wick,’ Brad Pitt and Icelandic Cinema
By Patrick Z. McGavin David Leitch’s new action film “Bullet Train” plays like Agatha Christie as reimagined by Quentin […]
Web Exclusives
Shelly Westerman on Editing for Nora Ephron, ‘Only Murders In the Building,’ and More
“Richard Marks said 40% of the job is editing, and 60% is interpersonal relationships. It’s so true.” […]
Web Exclusives
‘Always Cut TO Something’: Vikash Patel Talks Editing Crime Drama ‘Ozark’
“If the performance is fantastic, if the story is being told, why interrupt that with a cut?” […]
Featured Stories
How Brian Kates Brought His Journey With Queer Cinema Home to ‘Fire Island’
“It’s unnatural for me to think about my editorial voice, because an editor’s job is to take our stylistic cues from the director and become one with the material.” […]