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by Matt Feury
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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- 6 days ago1h 10m
Lanterns
Editors – Vikash Patel, Matthew V. Colonna, ACE and Emily E. Greene, ACE Lanterns editors Vikash Patel, Matthew V. Colonna, ACE and Emily E. Greene, ACE return to The Rough Cut to discuss shaping an HBO series that brings the Green Lantern mythology down to Earth and combines superhero storytelling with the structure and atmosphere of a detective drama. For Vikash, the series also meant taking on a broader role as supervising editor and associate producer, working alongside showrunner Chris Mundy to maintain a consistent editorial language across the entire season. Created by Chris Mundy, Damon Lindelof and Tom King, Lanterns stars Kyle Chandler as veteran Green Lantern Hal Jordan and Aaron Pierre as new recruit John Stewart. The two intergalactic lawmen are drawn into a dark, Earth-bound mystery after investigating a murder in the American heartland, gradually uncovering a larger conspiracy with implications that reach far beyond the case in front of them. The series also stars Kelly Macdonald, Garrett Dillahunt, Poorna Jagannathan and Ulrich Thomsen. The eight-episode season moves between detective story, character drama, science fiction and superhero mythology while also navigating multiple time periods and a substantial visual-effects workload. Vikash helped establish the tone through the early episodes and remained involved across the season, working with the other editors, showrunner Chris Mundy, composer Stephanie Economou and the broader post-production team to keep the series cohesive. In our conversation, Vikash, Matthew and Emily discuss finding the balance between the grounded crime-drama elements and the larger Green Lantern mythology, controlling the pace and structure of the pilot, navigating multiple timelines, and deciding how much information an audience needs as the central mystery unfolds. They also talk about building an efficient VFX pipeline, shaping action before effects are finished, using music and needle drops to define different periods and emotional states, and maintaining consistency across episodes being handled by different editors. VIKASH PATEL Vikash Patel is an Emmy-winning editor whose credits include Lanterns, Black Rabbit, Ozark, The Sympathizer, The Morning Show, Bates Motel and Longmire. He worked extensively with Lanterns showrunner Chris Mundy on Ozark, editing twenty episodes across the series and earning an Emmy nomination for his work. On Lanterns, Vikash expanded his responsibilities beyond individual episodes, serving as supervising editor and associate producer and helping oversee the editorial and post-production process across the full season. MATTHEW V. COLONNA, ACE Matthew V. Colonna, ACE is an editor whose television credits include Lanterns, It: Welcome to Derry, Sugar, Castle Rock, Locke & Key, Narcos and Dexter. His work spans crime drama, horror, science fiction and large-scale genre television. Prior to Lanterns, Matthew joined The Rough Cut to discuss helping establish the world and supernatural tension of HBO's It: Welcome to Derry. EMILY E. GREENE, ACE Emily E. Greene, ACE is an editor whose credits include Lanterns, Paper Girls, Foundation, Mrs. America, American Crime Story and The Blacklist. Her work has ranged from character-driven historical drama to large-scale science fiction and visual-effects storytelling. Emily has previously appeared on The Rough Cut to discuss both Mrs. America and Paper Girls, two very different series that required careful management of ensemble storytelling, shifting points of view and complex narrative structure. The Credits Visit ExtremeMusic for all your production audio needs. Hear Vikash discuss his work on BLACK RABBIT. Listen to Vikash break down the final season of OZARK. Hear Matthew discuss his work on IT: WELCOME TO DERRY. Listen to Emily discuss editing MRS. AMERICA. Hear Emily return to talk about the sci-fi series PAPER GIRLS. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube.
- 1 weeks ago43 min
Heart of the Beast
Editor – Dody Dorn, ACE For Heart of the Beast, editor Dody Dorn, ACE was tasked with cutting a survival thriller built around one man, one dog and an unforgiving wilderness. Reunited with director David Ayer more than a decade after their work together on Fury, Dody helped shape a film that combines large-scale action and physical danger with a much more intimate story about trauma, loyalty and the bond between two combat veterans trying to make their way home. Directed by David Ayer and written by Cameron Alexander, Heart of the Beast stars Brad Pitt as James Belmont, a Special Forces veteran traveling with his retired combat dog, Odin. After a plane crash leaves them stranded deep in the Alaskan wilderness, the two must rely on their training and on each other as they battle the elements, injury and the lasting psychological effects of their military service. The film also stars J.K. Simmons and Anna Lambe. Heart of the Beast gave Dody the challenge of maintaining tension and momentum while much of the film rests on the relationship between Belmont and Odin. The movie also uses flashbacks to gradually reveal the shared history between man and beast, allowing the edit to move between the immediate physical struggle for survival and the experiences that continue to shape Belmont in the present. DODY DORN, ACE Dody Dorn, ACE is an Academy Award-nominated editor whose credits include Memento, Insomnia, Fury, Kingdom of Heaven, Australia, End of Watch, Zack Snyder's Justice League, Army of the Dead and Rebel Moon. Dorn got her start in sound editorial before moving into picture editing, bringing an understanding of both image and sound to a career that has ranged from intimate character-driven films to large-scale action and visual-effects productions. Dody received an Academy Award nomination and an ACE Eddie nomination for her work on Christopher Nolan's Memento. The Credits Visit ExtremeMusic for all your production audio needs. Hear Dody discuss editing Zack Snyder's four-hour director's cut of ZACK SNYDER'S JUSTICE LEAGUE. Listen to Dody talk about her work on Snyder's ARMY OF THE DEAD. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube.
- 3 weeks ago1h 4m
Resident Evil
Editor – Joe Murphy and Music Editor – Scott Hedrick Resident Evil editor Joe Murphy and music editor Scott Hedrick join The Rough Cut to discuss the picture and music editorial work behind Zach Cregger's reinvention of the legendary survival-horror franchise. For Joe, the film marks his third consecutive collaboration with Cregger following Barbarian and Weapons, while Scott brings a background as a music editor, score producer, composer and longtime musician to a film where sound, score and silence are essential parts of the suspense. Directed by Zach Cregger and written by Cregger and Shay Hatten, Resident Evil stars Austin Abrams as Bryan, a medical courier whose seemingly routine delivery sends him into Raccoon City on the worst possible night. As the city descends into chaos, Bryan is forced through an escalating series of encounters with infected residents, increasingly dangerous creatures and the larger biological nightmare consuming everything around him. The film also stars Zach Cherry, Kali Reis and Paul Walter Hauser. Rather than directly adapting the story of one of the games, Cregger approaches the movie through the experience of playing Resident Evil — moving through unfamiliar spaces, conserving resources, solving environmental problems and never knowing exactly what might be waiting around the next corner. In our conversation, Joe discusses translating that survival-horror grammar into cinematic pacing, maintaining Bryan's point of view through long stretches of action and exploration, and continuing the creative shorthand he and Cregger developed on their previous films. Having Scott onboard for the podcast allows us to take a look inside a different realm of post-production, hearing his explanation as to what a music editor contributes between picture editorial, the composers, the director and the final mix. We also discuss the score by Hays and Ryan Holladay, the use of low-frequency pulses and silence to create tension, the relationship between music and sound design, and how Scott helped reshape the musical approach to the film's ending. JOE MURPHY Joe Murphy is an editor whose feature credits include Resident Evil, Weapons, Barbarian, On Swift Horses, Swallow, Beach Rats and We Summon the Darkness. His collaboration with writer-director Zach Cregger began with Barbarian and has continued through three consecutive features. Across those films, Joe's work has frequently explored character point of view, suspense, shifting tone and the precise control of information required to keep an audience engaged while withholding what may be waiting just outside the frame. SCOTT HEDRICK Scott Hedrick is a music editor, score producer, composer and musician whose film work spans music editorial, score production, additional composition and arrangement. His credits include projects such as Resident Evil, Novocaine, Twinless, Thelma and Cabrini. Before moving into film music, Scott spent many years as a founding member and guitarist of the metal band Skeletonwitch. He later studied film scoring at UCLA, bringing his background as both a performing musician and composer into a career that places him at the intersection of filmmakers, composers, picture editors and the final soundtrack. The Credits Visit ExtremeMusic for all your production audio needs. Hear Joe discuss his previous collaboration with Zach Cregger on WEAPONS. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube.
- Sep 21, 202658 min
The Musical
Editors – Chris Chandler and Devin Dulany The Musical editors Chris Chandler and Devin Dulany discuss cutting a dark comedy that turns professional frustration, romantic jealousy and middle-school theater into an increasingly elaborate act of revenge. For Devin, the project began years earlier when he edited the original AFI short that eventually became the feature, while Chris brought a background in comedy that includes Curb Your Enthusiasm, Dave and Blindspotting. Directed by Giselle Bonilla and written by Alexander Heller, The Musical stars Will Brill as Doug Leibowitz, a frustrated playwright working as a middle-school theater teacher while dreaming of a more important career in New York. When Doug discovers that his ex-girlfriend Abigail, played by Gillian Jacobs, has begun dating his nemesis, Principal Brady, played by Rob Lowe, he decides to sabotage Brady's pursuit of a prestigious Blue Ribbon award by secretly replacing the school's planned production of West Side Story with an original musical designed to create the worst possible publicity for everyone involved. The film began as an AFI Conservatory short before Bonilla, Heller and several members of their original filmmaking team expanded the idea into their first feature. Devin edited that original short and returned for the feature, while Chris joined the team as both editor and post producer. The movie premiered in the U.S. Dramatic Competition at the 2026 Sundance Film Festival before receiving a nationwide theatrical release. In our conversation, Chris and Devin talk about expanding a premise that worked at short-film length into a feature, maintaining the movie almost entirely through Doug's increasingly distorted point of view, and finding the right editorial balance for a protagonist whose commitment to his own grievances is essential to the comedy. They also discuss working with Will Brill's intensely serious performance, preserving the sincerity of the young cast, building the escalating revenge plot, and holding back enough of the school production to make the final performance deliver on everything the film has been promising. CHRIS CHANDLER Chris Chandler is an editor whose credits include The Musical, Blindspotting, Dave and Curb Your Enthusiasm. His work spans comedy, music-driven storytelling and character-focused television and feature filmmaking. Chris received an ACE Eddie Award nomination alongside Roger Nygard, ACE for the Curb Your Enthusiasm Season 11 finale, "The Mormon Advantage." In addition to editing The Musical, Chris served as the film's post producer, helping guide the project through an abbreviated post-production schedule leading into its Sundance premiere. DEVIN DULANY Devin Dulany is an editor and filmmaker whose work includes The Musical and the AFI short on which the feature was based. An alumnus of the AFI Conservatory's Editing program, Devin was part of the original group of filmmakers who developed the project during their time at AFI and later reunited to expand it into a feature. Before attending AFI, Devin worked professionally in editorial in New York and Los Angeles, cutting commercials, trailers, documentaries and narrative projects while also developing his own work as a director and cinematographer. The Credits Visit ExtremeMusic for all your production audio needs. Hear Chris discuss his work on the Starz series BLINDSPOTTING. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube.
- Sep 14, 202648 min
Finding Emily
Editor – Phil Hignett Finding Emily editor Phil Hignett returns to The Rough Cut to discuss cutting a romantic comedy built around music, timing, chemistry and the difficult balance between letting a joke land and giving a relationship enough space to feel real. Working with director Alicia MacDonald, Phil helped shape a film that draws on the pleasures of the classic British rom-com while giving the genre a younger, more contemporary point of view. Directed by Alicia MacDonald and written by Rachel Hirons, Finding Emily stars Spike Fearn as Owen, a musician and sound engineer who becomes determined to find a woman named Emily after discovering that the phone number she gave him is missing a digit. His search leads him to Emily Raine, played by Angourie Rice, an American psychology student who agrees to help him while secretly using his increasingly elaborate search as material for her academic work. As Owen's quest spreads across campus and begins attracting attention, the relationship developing between the two of them becomes far more important than the person he originally set out to find. Music is central to the identity of the film, from Owen's own musical life to the Manchester setting and a soundtrack that helps establish the rhythm and emotional tone of the story. In our conversation, Phil talks about cutting comedy and romance within the same scene, shaping the chemistry between Owen and Emily, working with fast overlapping dialogue, using music as an editorial engine, and knowing when a two-shot or a held reaction can say more than another cut. The discussion also gets into some of the film's more unusual editorial challenges, including the way Owen's search spreads through social media, the large number of Emilys who become part of the story, the balance between making Owen's behavior feel romantic and allowing the audience to question it, and the film's distinctive use of music during some of its biggest emotional moments. PHIL HIGNETT Phil Hignett is an editor whose credits include Finding Emily, Sex Education, Stath Lets Flats, Wedding Season, Renegade Nell and Am I Being Unreasonable? His work spans television, features and commercial editing, with a particular emphasis on comedy, performance and the precise timing required to balance humor with character. Phil began his career in commercial editorial before moving into long-form work, eventually collaborating with filmmakers including Ben Taylor and Alicia MacDonald. His work on Sex Education was recognized with a BFE Cut Above Award for Best Edited Series: Comedy, shared with fellow editors Steve Ackroyd, David Webb and Izabella Curry. The Credits Visit ExtremeMusic for all your production audio needs. Hear Phil discuss his work on season three of SEX EDUCATION. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube.
- Aug 31, 202659 min
The End of Oak Street
Editor – John Axelrad, ACE The End of Oak Street editor John Axelrad, ACE returns to The Rough Cut to discuss cutting a science-fiction thriller that takes an ordinary suburban family and abruptly removes every familiar rule of the world around them. Working with writer-director David Robert Mitchell, John had to balance large-scale spectacle and mystery with a story that remains grounded in the relationships between the members of one family. Written and directed by David Robert Mitchell, The End of Oak Street begins when a mysterious cosmic event rips an entire suburban neighborhood from its surroundings and transports it to someplace unknown. The Platt family soon realizes that understanding where they are may be less immediately important than simply surviving, forcing them to depend on one another as the familiar streets and homes around them become increasingly dangerous and unrecognizable. JOHN AXELRAD, ACE John Axelrad, ACE is an editor whose credits include Ad Astra, The Lost City of Z, Papillon, Antebellum, Chevalier, Spaceman, Krampus, Crazy Heart, Two Lovers and We Own the Night. A graduate of the USC School of Cinema-Television, John began his career in assistant editorial before moving into the editor's chair and has worked across science fiction, drama, horror and historical filmmaking. He is also an active mentor to emerging editors through organizations including American Cinema Editors and the Academy Gold program. The Credits Visit ExtremeMusic for all your production audio needs. Hear John discuss his work with assistant editor Jared Simon on ANTEBELLUM. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube.
- Aug 17, 20261h 6m
Spider-Man Brand New Day
Spider-Man: Brand New Day Editors – Nat Sanders, ACE; Harry Yoon, ACE and Gina Sansom Spider-Man: Brand New Day editors Nat Sanders, ACE, Harry Yoon, ACE and Gina Sansom join The Rough Cut to discuss helping director Destin Daniel Cretton take Peter Parker into a deeper, more grounded chapter of his story. Nat and Gina began the film together during production, with Harry joining them for the director's cut, bringing together three editors who had each previously collaborated with Destin on projects ranging from Shang-Chi and the Legend of the Ten Rings to Wonder Man. Directed by Destin Daniel Cretton, Spider-Man: Brand New Day finds Peter Parker (Tom Holland) fighting crime full-time as Spider-Man in a world that no longer remembers him. As Peter watches MJ (Zendaya) and Ned (Jacob Batalon) continue their lives without him, the pressure of his isolation begins to trigger a transformation he may not be able to control. At the same time, a new threat emerges in New York, drawing Peter into a conflict that also brings him together with Frank Castle / The Punisher (Jon Bernthal), Bruce Banner / Hulk (Mark Ruffalo) and Jean Grey (Sadie Sink). The film also stars Tramell Tillman and Michael Mando. For Nat, Brand New Day continues a long creative relationship with Cretton that stretches back to Short Term 12 and includes The Glass Castle, Just Mercy and Shang-Chi. Harry previously worked with Cretton and Nat on Shang-Chi, while Gina came to the film following collaborations with Cretton on American Born Chinese and Wonder Man. Brand New Day also marks Gina's first feature as an editor. In our interview, Nat, Harry and Gina discuss dividing the film between three editors, working in close proximity to production at Pinewood Studios, shaping Peter Parker's darker and more emotionally complex story, and using previews to test radically different versions of the film. They also talk about finding the right balance between practical action and visual effects, managing the reveal and evolution of Jean Grey, preserving Peter's emotional point of view in his scenes with MJ and Ned, and collaborating with composer Michael Giacchino as the film developed through post. NAT SANDERS, ACE Nat Sanders, ACE is an Academy Award-nominated editor whose credits include Moonlight, If Beale Street Could Talk, Short Term 12, Shang-Chi and the Legend of the Ten Rings, The Glass Castle and Just Mercy. A longtime collaborator of director Destin Daniel Cretton, Nat has worked with him from independent character dramas through large-scale studio filmmaking. Nat received an Academy Award nomination alongside Joi McMillon for editing Moonlight and has twice won the Independent Spirit Award for Best Editing. HARRY YOON, ACE Harry Yoon, ACE is an editor whose feature credits include Minari, Shang-Chi and the Legend of the Ten Rings, Thunderbolts*, The Fire Inside, The Last Black Man in San Francisco, First Man and Detroit. Harry's work spans intimate character dramas and large-scale action films, with a particular focus on maintaining performance and emotional point of view within complex visual storytelling. Spider-Man: Brand New Day reunites him with Destin Daniel Cretton and Nat Sanders following their work together on Shang-Chi. GINA SANSOM Gina Sansom is an Emmy-nominated editor whose television credits include Wonder Man, Our Flag Means Death, American Born Chinese, Reservation Dogs, Silicon Valley, Better Things, Love and Horace and Pete. She received an Emmy nomination for her work on Horace and Pete. After previously collaborating with Destin Daniel Cretton on American Born Chinese and Wonder Man, Gina makes her feature editing debut with Spider-Man: Brand New Day. Visit ExtremeMusic for all your production audio needs. Hear Nat and Harry discuss their first Marvel collaboration with Destin Daniel Cretton on SHANG-CHI AND THE LEGEND OF THE TEN RINGS. Listen to Harry talk about cutting Lee Isaac Chung's Oscar®-nominated film MINARI. Hear Harry discuss his return to the MCU with THUNDERBOLTS*. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube</a
- Jul 13, 202654 min
Avatar - The Last Airbender S2
Editor – Payton Koch For Avatar: The Last Airbender editor Payton Koch, this job offered a very different kind of editorial challenge from his Emmy-nominated work on Only Murders in the Building. The series has to move between large-scale action, visual effects, martial arts, comedy, mythology and coming-of-age drama, often within the same sequence. It also has to satisfy a fanbase that knows this world extremely well while still making the story accessible to viewers coming to it for the first time. Based on the Nickelodeon series created by Michael Dante DiMartino and Bryan Konietzko, Avatar: The Last Airbender is set in a world divided into four nations — Water, Earth, Fire and Air — where certain people can "bend," or control, one of those elements. At the center of the story is Aang, the last surviving Air Nomad and the next Avatar, the one person capable of mastering all four elements and restoring balance to a world at war. Season Two takes Aang, Katara and Sokka deeper into the Earth Kingdom as they search for an earthbending teacher and make their way toward Ba Sing Se, the massive, heavily fortified capital of the Earth Kingdom. Along the way, the series expands its world with new allies, new enemies and a larger sense of the political and emotional cost of the Fire Nation's war. PAYTON KOCH Payton Koch is an Emmy-nominated picture editor with a diverse range of post-production credits on popular television series, including American Horror Story, Ratched and Only Murders in the Building. His work on the Hulu comedy series Only Murders in the Building earned him multiple ACE Eddie Award nominations, as well as his first Primetime Emmy nomination in 2024. His additional credits include American Crime Story, The Politician, Home Before Dark, Just Beyond and The Boys in the Band. Visit ExtremeMusic for all your production audio needs. Subscribe to The Rough Cut podcast and never miss an episode. Visit The Rough Cut on YouTube.
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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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