Today on Art of the Cut, we discuss editing the Apple Plus feature film The Instigators with three editors, including Oscar-winning editor William Goldenberg, ACE, Oscar-nominee Tatiana Riegel, ACE, and Oscar-nominee Saar Klein.

Billy’s been on Art of the Cut six times before for his work on Live By Night, Detroit, 22 July, The Outfit, News of the World, and Air. Billy won an Oscar, a BAFTA, and an ACE Eddie for Argo, and was nominated for an Oscar, a BAFTA and an Eddie for The Imitation Game. He was also nominated for an Oscar for Zero Dark Thirty, but lost to … himself. He was also nominated for Oscars for Seabiscuit and The Insider.

Tatiana has been on Art of the Cut to discuss The Girl in the Spider’s Web, Cruella, and I, Tonya. Tatiana has been winning ACE Eddies since back in 2008! She was nominated for an Oscar and won an ACE Eddie AND an Independent Spirit Award for I, Tonya, was nominated for an Emmy for Pam & Tommy, and was nominated for an ACE Eddie for Cruella.

Saar was nominated for an Oscar and an ACE Eddie for The Thin Red Line, and he was nominated for an Oscar and won an ACE Eddie for Almost Famous. His other work includes, Jumper, The Bourne Identity, and the TV series, Masters of the Air.

A three-person panel of editors with 8 Oscar nominations between them discusses the emotional impact of structural changes, the advantages of objectivity, and Stockholm Syndrome as it applies to directors!

Today on Art of the Cut we are talking about cutting horror and suspense with Greg Ng and Graham Fortin who edited this summer’s Longlegs which is now available on VOD after its theatrical run.

Greg has been nominated and won numerous Canadian Cinema Editor and Leo Awards for TV and documentaries. His credits include the feature films Afflicted and Come and Find Me. He’s also edited for the great ESPN doc series, 30 for 30.

Graham’s credits include the documentaries Ari’s Theme, The Wrestlers, and the TV series Trumpocalypse.

Today we’re going to be discussing changing the beginning of the film, changing the end of the film and making all the moments in the middle as heightened as possible, emotionally.

If you'd like to follow along with this interview and read the transcript, as well as be able to see exclusive images from editing the movie and clips and trailers, check out:

borisfx.com/blog/aotc

Today on Art of the Cut we are talking about Tim Burton’s Beetlejuice Beetlejuice with editor Jay Prychidny, CCE.

This is Jay’s fourth time on Art of the Cut. He previously joined us to talk about Snowpiercer, Wednesday, Scream VI, and now, Beetlejuice Beetlejuice.

Jay’s won a BAFTA and been nominated for and won numerous Canadian Cinema Editor’s Awards for his work on Orphan Black, The Alienist, The Amazing Race Canada, and many others.

Today we’re going to be discussing re-structuring a film to blend disparate elements, trying to create a mashup of MacArthur Park that tells a story while remaining musically cohesive, and turning a simple montage into a nostalgic, emotional journey.