The Rough Cut

Editor - Peter H. Oliver

BABY REINDEER editor Peter Oliver had just one word to describe Richard Gadd's script when he first read it. That word was "wow"! Viewers of the hit Netflix series can certainly relate to that reaction as the show has resonated with audiences for its ability to delicately blend humor and pathos.

Created by and starring Richard Gadd, BABY REINDEER is adapted from Gadd's autobiographical one-man show. It tells the story of aspiring comedian Donny Dunn, who works as a bartender in a London pub. One fateful day, Donny offers a cup of tea to a customer, Martha, to cheer her up. Martha develops a strong attachment to Donny and starts coming to the bar every day. Her fascination and attraction to Donny rapidly descends into Martha harassing Donny online and in person.

PETER H. OLIVER

Prior to his work on BABY REINDEER, Peter Oliver's editing talents were on display in series such as THE BILL (2005-09), BAD EDUCATION (2013), RED DWARF (2016-17), and GOLDIE'S OLDIES (2021). Peter's work can next be seen in the upcoming Netflix series, ERIC (2024) starring Benedict Cumberbatch.

Editing BABY REINDEER

In our discussion with BABY REINDEER editor Peter Oliver, we talk about:

• The overwhelming aspect of group Zoom interviews
• Finding darkness in the lightness, and lightness in the darkness
• Letting the lyrics be the subtext
• Pushing in, in post
• The subtle stitching of three-sixty shots

The Credits

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Editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher

The Fall Guy editing team of editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher once again find themselves in the cutting room of a David Leitch action spectacular. With this film being the fifth the trio has worked on together; their postproduction process is like a highly coordinated stunt sequence.

THE FALL GUY, directed by David Leitch from a script written by Drew Pearce, is loosely based onthe 1980's TV series about a stuntman who moonlights as a bounty hunter. The film version follows a stuntman (Ryan Gosling) working on his ex-girlfriend's (Emily Blunt) directorial debut action film, only to find himself involved in a conspiracy surrounding the film's lead actor (Aaron Taylor-Johnson).

ELÍSABET RONALDSDÓTTIR, ACE

Elísabet Ronaldsdóttir is an award winning tv and film editor, who has worked on over 50 feature films, television programs, documentaries, as well as animated features. She is best known for her collaborations with film directors David Leitch for BULLET TRAIN (2023), JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018)and Baltasar Kormákur for JAR CITY (2006), THE SEA (2002)and CONTRABAND (2012).

Although Elísabet edited various movies throughout her career, she developed international recognition for her ability to balance humor and seriousness in action features. She built her international prominence by editing CONTRABAND (2012) and later JOHN WICK (2014), which also began her career-long partnerships with Baltasar Kormákur and David Leitch. She first started in the industry by editing Icelandic tv programs, shows, and films.

Elísabet is also actively participating and changing the industry. She is a founding member and two-term inaugural chairwoman of Women in Film & Television Iceland (WIFT Iceland). In addition, Elísabet has sat on the Icelandic Producers Guild board and served for two years as chairwoman of The Icelandic Film & TV Academy in 2005 and 2006. Since 2007 Elísabet has been a board member of the prominent Filmmakers at Reykjavík International Film Festival (RIFF). Born and raised in Reykjavik Iceland, Elísabet is graduate of the London Film School.

MATT ABSHER

Assistant editor Matt Absher has been Elísabet Ronaldsdóttir's right hand man in the cutting room for seven films spanning eleven years. In addition to their most recent work on David Leitch's THE FALL GUY, the two collaborated on; THE MISSIONARY (2013), JOHN WICK (2014), ATOMIC BLONDE (2017), DEADPOOL 2 (2018), SHANG-CHI and THE LEGEND OF THE TEN RINGS (2021) and KATE (2021). Aside from his work with Elísabet, Matt has also assisted editors such as Stephen Mirrione on THE INFORMANT! (2009) and Nick Monsour on NOPE (2022).

Editing THE FALL GUY

In our discussion with The Fall Guy editing team of editor Elísabet Ronaldsdóttir, ACE and assistant editor Matt Absher, we talk about:

• Defining David Leitch
• Intercutting to the chase
• Taming a triad of tones
• Syncing split screens
• Voice over and out

The Credits

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Editor - Jake Roberts, ACE

CIVIL WAR editor Jake Roberts ACE is back once again in the cutting room with writer/director Alex Garland for a sequel of sorts to their 2022 feature, MEN. Although MEN was their first foray into collaborating on a feature, Jake and Alex first worked together on the 2020 FX mini-series, DEVS.

Written and directed by Alex Garland (EX MACHINA, MEN), CIVIL WARfollows a team of journalists traveling across the United States during a civil war fought between an authoritarianfederal government and several regional factions. The cast includesKirsten Dunst,Wagner Moura,Cailee Spaeny,Stephen McKinley Henderson,Sonoya MizunoandNick Offerman.

JAKE ROBERTS, ACE

After his work on 2012's CITADEL, 2013's STARRED UP, 2014's THE RIOT CLUB, and 2015's BROOKLYN, Roberts earned an Oscar nomination for Best Film Editing for his work on 2016's HELL OR HIGH WATER starring Chris Pine. The movie also garnered him a nomination for an Independent Spirit Award. Roberts then cut 2018's OUTLAW KING for Netflix directed by David Mackenzie. He then began collaborating with director Alex Garland, editing his 2020 miniseries DEVS and 2022 film MEN. Jake is currently putting the finishing touches on Fede Alvarez's upcoming ALIEN: ROMULUS for 20th Century Studios.

Editing CIVIL WAR

In our discussion with Civil War editor Jake Roberts ACE, we talk about:

• The non-linear editing benefits of a linear production
• Depoliticizing a political thriller
• The unsettling sound of silence
• How tension can affect retention
• The skill of slotting in stills

The Credits

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Editor Michael Ruscio, ACE and assistant editor Josh Carley

The 3 BODY PROBLEM editing team of editor Michael Ruscio, ACE and assistant editor Josh Carley collaborated for the first time to take on arguably the biggest episode of the Netflix adaptation of the Chinese sci-fi novel. Helmed by former GAME OF THRONES showrunners David Benioff and D.B. Wiess, 3 BODY PROBLEM masterfully blends multiple genres, including action, fantasy and psychological thriller.

The wheels of 3 BODY PROBLEM are set in motion when Ye Wenjie, anastrophysicistwho sees her father beaten to death during astruggle sessionin the ChineseCultural Revolution, is conscripted by the military. Due to her scientific background, she is sent to a secret military base in a remote region. Her decision at the base to respond to contact from an alien planet implicates a group of scientists in the present day, forcing them to confront humanity's greatest threat.

MICHAEL RUSCIO, ACE

Michael Ruscio began his editing career making films with independent mavericks Alan Rudolph and Robert Altman. He has enjoyed editing some of the top dramatic shows of the past twenty years, including The Sopranos, Homeland, Dexter, House of Cards andSix Feet Under, where he first met Rodrigo Garcia, for whom he edited the film Raymond & Ray. Recent work featuring Michael's talents include Pieces of Her, Your Honor, Carnival Row, Ridley Scott's Raised by Wolves, and Hulu’sCatch-22. Ruscio was nominated for an ACE Eddie Award for the finale ofSix Feet Underand won the 2009 Eddie for the pilot ofTrue Blood. He created a workshop for the American Film Institute on the art of editing which he also taught at the Los Angeles Film School. Additionally, he has directed multiple episodes of the HBO series True Bloodand his short film In Order of Appearance received ensemble and individual acting awards during its festival run. He is currently editing the upcoming Amazon series Butterfly.

JOSH CARLEY

Josh Carley started his editing career in his home state of Louisiana, where he cut short films, trailers, EPKs, web pieces, local commercials, music videos, and a large array of other kinds of projects. His work led him to projects with other local filmmakers, and projects for SYFY, Lifetime, and Hallmark. In 2018 Josh moved to Los Angeles where he still resides with his wife and kids. He’s had the privilege on working as Assistant Editor on such shows as Amazon’s Utopia and The Terminal List, FX’s The Old Man, and Apple TV’s Truth Be Told. In addition to 3 Body Problem, his most recent work can be seen inthe upcoming final season of The Umbrella Academy.

Editing 3 BODY PROBLEM

In our discussion with the 3 BODY PROBLEM editing team of Michael Ruscio and Josh Carley, we talk about:

• Doubling down on dialogue to deliver the action
• Slicing through the VFX work
• Taking a different angle on the same scene
• Sound advice for assistants
• Transcontinental cutting rooms

The Credits

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Editors Maria Gonzales and Aika Miyake

The work of SHOGUN editors, Maria Gonzales and Aika Miyake played a crucial role in the success of this adaptation of James Clavell's novel, as Maria and Aika created a fast-paced story, shifting the conflicts away from battlefields and into political intrigues by highlighting interpersonal dynamics, intense dialogue scenes, and the crucial role of female characters. While editing, they were also often challenged with condensing the run times of episodes down from close to one hundred minutes to one hour each, while still fleshing out the complex tapestry and culture clashes of XVII century Japan and overcoming language barriers themselves.

SHOGUN follows the collision of two ambitious men from different worlds; John Blackthorne, a risk-taking English sailor who ends up shipwrecked in Japan and in a country whose unfamiliar culture will ultimately redefine him, and Lord Toranaga, a shrewd and powerful daimyo at odds with his own dangerous political rivals. Entangled with the pair is Lady Mariko, a woman with invaluable skills but dishonorable family ties, who must prove her value and allegiance.

MARIA GONZALES

With over twenty years of experience in the industry, Maria's previous television work includes many award-winning shows, including The Old Man, See, and Counterpart, as well as fan-favorite shows, like The Walking Dead and its spin-off show, The Walking Dead: The Ones Who Live. Outside of her episodic work, Maria served as an editor on two horror features: A24’s fantasy horror The Monster and Blumhouse’s horror thriller Mockingbird. She also previously worked as an assistant editor on the Academy Award-winning film The Bourne Ultimatum and Academy Award-nominated Up in the Air along with working on a long list of features beloved by audiences, including Jon Favreau’s Chef and Barry Sonnenfeld’s Men in Black II. Maria sees editing as the subtle hand that guides narratives into seamless coherence, and she continually seeks the delicate equilibrium between creativity and technical mastery while fostering a creative environment that uplifts those around her. Currently living in Los Angeles with her family, Maria was born in the United States but spent her formative years in modern-day Serbia before returning to LA to study at the USC School of Cinematic Arts, where she graduated with a BA in Cinema Studies.

AIKA MIYAKE

Aika's sixteen years of film/tv work spans across all styles and genres, covering short-form branded content, documentaries, narrative TV, and feature films. Her television work includes Netflix's Emmy-winning documentary mini-series Chef's Table: BBQ, and Beyonce's Emmy-winning and Grammy-nominated visual album Black Is King. Aika also worked on a diverse range of films, including the "nominated at SXSW Film Festival" short documentary film Coming Home, and Best Documentary Feature winner at the Philadelphia Asian American Film Festival, Hafu: The Mixed-Race Experience in Japan. She started her career working on commercials and music videos with clients such as Nike, Pampers, IKEA, and Spotify to name a few. Growing up in Japan, Aika enjoyed playing drums and making hundreds of mixtapes for her sisters, and after discovering her passion for photography, she opened her heart to the potential of filmmaking and how images paired with music could create emotional experiences. She currently lives in Los Angeles. Outside of her work in editing, Aika is passionate about food, travel, reggae music, and her two cats, Oreo and Millie.

Editing SHOGUN

In our discussion with SHOGUN editors, Maria Gonzales and Aika Miyake, we talk about:

• Starting off with subtitling
• The Red Hot Ronin Peppers
• Commercial breaking into the business
• Filling out the story with flashbacks
• "Feudal" gestures

The Credits

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Editors Nathan Orloff and Shane Reid

GHOSTBUSTERS: FROZEN EMPIRE editors, Nathan Orloff and Shane Reid both came into the latest installment of the supernatural, super funny franchise having past experience with writer/director Jason Reitman. But whereas Nathan's work with Jason came from collaborating on feature films like GHOSTBUSTERS: AFTERLIFE (2021), Shane's work with Jason was amidst his impressive body of work in the commercial world.

FROZEN EMPIRE sees the Spengler family returning to the iconic New York City firehouse where the original Ghostbusters have taken ghost-busting to the next level. When the discovery of an ancient artifact unleashes an evil force, Ghostbusters new and old must unite to protect their home and save the world from a second ice age.

NATHAN ORLOFF

Nathan Orloff is known for his editing on TULLY (2018), PLAN B (2021), GHOSTBUSTERS: AFTERLIFE (2021) and JOHN WICK: CHAPTER 4 (2023).

SHANE REID

As a partner of the award-winning post house Exile Edit, Shane has been nominated for, and won, multiple awards for his work in the commercial space with top brands including Apple, Adidas, BMW, Hennessy, Audi and the Olympics. He quickly became one of the most trusted short form editors, working with such directors as Damien Chazelle, Terrence Malick, Andrew Dominik, Jason Reitman, Craig Gillespie, Blake Lively, John Hillcoat & Chloe Zhao. He has also cut multiple music videos for Taylor Swift, Paul McCartney, Florence + The Machine and Kamasi Washington.

In 2018, Reid edited on the filmA Hidden Lifefor director Terrence Malick. He recently cut the short filmI’m on Fire for director Michael Spiccia which premiered at the 2022 Toronto and Clermont-Ferrand International Festivals. Shane is currently co-editing Deadpool & Wolverine alongside editor Dean Zimmerman, ACE.

Editing Ghostbusters: Frozen Empire

In our discussion with GHOSTBUSTERS: FROZEN EMPIRE editors, Nathan Orloff and Shane Reid, we talk about:

• How paying tribute to Ivan lead to a job that pays tribute to Ivan
• Being expeditious with the exposition
• Raising the stakes while staying funny
• Conquering the edit without clearly dividing it
• Less Mayor, more marshmallow

The Credits

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Editor - Doc Crotzer, ACE

ROAD HOUSE editor Doc Crotzer ACE got his first real studio feature film experience cutting Doug Liman's Sci-Fi/Fantasy film, CHAOS WALKING (2021). Three years later Doug would tap Doc once again to take the film fight game to another level for Liman's latest entry in the action genre.

Directed by Doug Liman and produced by Joel Silver, this remake of the 1989 cult classic sees ex-UFC fighter Dalton take a job as a cooler at a Florida Keys roadhouse, only to discover that this paradise is not all it seems.

DOC CROTZER, ACE

A filmmaking Swiss Army knife, Doc has directed, produced, and edited studio feature films, award winning television series, and immersive documentaries. He draws from his wide-ranging experience in production and postproduction to tell cinematic stories that remain grounded in human emotion, regardless of the medium. His encyclopedic knowledge of editing allows him to shoot efficiently and creatively, while inspiring confidence from collaborators on both sides of the camera. His favorite part of filmmaking is collaborating with actors and crew to create something in which the sum is truly greater than any of its parts. Doc’s instincts and work ethic are trusted at the highest levels, often quietly working as a “fixer” on studio films and TV shows that need fresh eyes to reach their fullest potentials. A musician himself, Doc has edited over 100 music videos and excels at bringing stories to life that incorporate music and visual effects.

Doc was nominated for an Emmy® for his work directing a web series and nominated for ACE and HPA awards for his work on the TV show Glee. He is a proud member of the Director's Guild of America, American Cinema Editors, and the Television Academy of Arts & Sciences.

Editing Road House

In our discussion with Road House editor Doc Crotzer ACE, we talk about:

• Being "Bourne" again with Doug Liman
• Giving fight scenes the ol' Hollywood pass
• Taking 25% of a beating
• The battle in front of the bands
• Managing big personalities on screen and off

The Credits

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Hear Doc discuss his work on CHAOS WALKING and SHOTGUN WEDDING

Listen to director Doug Liman share his thoughts on filmmaking

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Editors - Inbal B. Lessner ACE and Ben Kaplan

STORMY editors Inbal B. Lessner, ACE and Ben Kaplan each brought their considerable experience in unscripted storytelling to this timely and unique perspective of a woman who dominated the headlines throughout and following the presidency of Donald Trump.

Directed and produced by Sarah Gibson, STORMY follows Stormy Daniels as she navigates being a mother, artist, and advocate working hard to reinvent herself following the Stormy Daniels–Donald Trump scandal. Judd Apatow serves as an executive producer under his Apatow Productions banner.

INBAL B. LESSNER, ACE

Inbal B. Lessner, ACE is an Emmy-nominated and Eddie-winning producer and editor. Prior to her work on STORMY, Inbal was most well-known for such true crime hits as Starz' Seduced: Inside the NXIVM Cult (2020)and Netflix'sEscaping Twin Flames (2023), both of which she co-created alongside her filmmaking partner Cecilia Peck. As executive producer, showrunner, and editor, Inbal steered both shows towards nominations for Best Edited Documentary (Non-Theatrical) at the ACE Eddie Awards, nabbing a win for the latter. She was previously Eddie-nominated for her work on the "Can We All Get Along" episode of CNN's The Nineties (2017).

Inbal has worked in the cutting rooms of directors such as Davis Guggenheim, Nancy Schwartzman, R.J. Cutler, Kelly Duane, Tricia Regan, Jeremy Simmons, and Tracy Droz Tragos, as well as Natalie Portman's feature directorial debut. A member of the AFI Conservatory faculty, she has also been a Visiting Professor of Film Editing at UNCSA Film School and is a mentor in the Karen Schmeer Diversity in the Edit Room Program.

BEN KAPLAN

A multi-award nominated documentary editor with over a decade of experience in the edit suite, Ben has worked on projects for CNN, Peacock,ABC/Hulu,VicelandandMAX. When he's not cutting docs, he's usually cutting up ingredients in the kitchen, perfecting his favorite dishes.

Editing STORMY

In our discussion with STORMY editors Inbal B. Lessner, ACE and Ben Kaplan, we talk about:

• Making the most of the Miro board
• "If you can't sum it up, you must cut it out".
• Motorboating your way to authenticity
• Deconstructing one documentary for another
• Stringing together the spine of the story

The Credits

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Editors - Mags Arnold, Brenna Rangott and Matt Chessé ACE

TRUE DETECTIVE: NIGHT COUNTRY editors Mags, Brenna and Matt had never worked together prior to uniting under showrunner Issa López for the fourth season of the HBO MAX anthology series, but you wouldn't know it from talking to them. The camaraderie between the three and the fun they have is in stark contrast to the dark and dangerous tone of their hit show.

TRUE DETECTIVE: NIGHT COUNTRY is set in the fictional town of Ennis, Alaska and follows the investigation behind the mysterious disappearance, and even more mysterious discovery, of eight men from a research station. Leading the investigation are two law enforcement officers who share a troubled past, Detectives Liz Danvers (Jodie Foster) and Evangeline Navarro (Kali Reis).

MATT "CHALKY" CHESSÉ, ACE

Editor Matt Chessé, ACE often finds himself cutting with frequent collaborator, director Marc Forster. The pair have been working together since 2000 and have joined forces on such films as; MONSTER'S BALL (2001), FINDING NEVERLAND (2004), THE KITE RUNNER (2007), QUANTUM OF SOLACE (2008) and CHRISTOPHER ROBIN (2018). Matt also cut TRUE DETECTIVE: NIGHT COUNTRY star, Jodie Foster's film MONEY MONSTER (2016).

MAGS ARNOLD

Mags Arnold entered the film industry in 1993 as a trainee sound editor, crossing over to picture editing as second assistant editor in 1994. She was promoted to first assistant editor in 1995, working on films such as HIGH FIDELITY (2000) and CAPTAIN CORELLI’S MANDOLIN (2001), both under celebrated editor Mick Audsley. Following her work as an assistant, Mags has cut shows such as WITCHER (2023) and BIG LITTLE LIES (2019).

BRENNA RANGOTT

Brenna is the lone editor on "Night Country" who has past experience with showrunner Issa López, working on the series BRITTANIA (2019) together. Despite her cheerful demeanor, Bren could often be found in the cutting rooms of horror genre projects like STARVE ACRE (2023), FATHER OF FLIES (2021) and HOST (2020).

Editing TRUE DETECTIVE: NIGHT COUNTRY

In our discussion with TRUE DETECTIVE: NIGHT COUNTRY editors Mags Arnold, Brenna Rangott and Matt Chessé, ACE, we talk about:

• Fun with field trips
• When the editor is the scene stealer
• Keeping things light when the story's so dark
• Playing the paranormal against the practical
• How "clumping" is better than cross cutting

The Credits

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Editors - Tia Nolan ACE and Kim Boritz

ANYONE BUT YOU editors Tia Nolan, ACE and Kim Boritz reunite and meet cute once again for a film that has been an absolute box office smash. In an era where prevailing "wisdom" says that you can't get audiences out to the theaters for a romantic comedy, Tia and Kim's little 25M film has racked up over 200M worldwide!

Loosely based on Shakespeare's Much Ado About Nothing, ANYONE BUT YOU was directed by Will Gluck, who co-wrote the screenplay with Ilana Wolpert. The film stars Glen Powell as Ben and Sydney Sweeney as Bea. Despite having an amazing first date, Bea and Ben's initial attraction quickly turns sour. When they unexpectedly find themselves at a destination wedding in Australia, the pair pretend to be the perfect couple to keep up appearances.

TIA NOLAN, ACE

A seasoned editor in the world of comedies, Tia Nolan has cut such films as FRIENDS WITH BENEFITS (2011), HOW TO BE SINGLE (2016), I FEEL PRETTY (2018) and THUNDERFORCE (2021). Tia's storytelling skills can also be found in the Marvel Cinematic Universe; as an editor on DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS (2021) and an additional editor on AVENGERS: INFINITY WAR (2019) and AVENGERS: ENDGAME (2022).

KIM BORITZ

Prior to editing alongside Tia on ANYONE BUT YOU (2023) and THUNDERFORCE (2021), Kim sharpened her skills as an assistant on CAPTAIN MARVEL (2019), THE MEG (2018) and ROGUE ONE: A STAR WARS STORY (2016).

Editing ANYONE BUT YOU

In our discussion with ANYONE BUT YOU editors Tia Nolan, ACE and Kim Boritz, we talk about:

• Surviving spiders
• Keeping your leads likeable through conflict
• Breaking the box office with a romcom
• Nailing down the needle drop
• The Richard Marks connection

The Credits

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