The Rough Cut

Editor - Nick Houy ACE, VFX Editor - Matt Garner and Apprentice Editor - Maya Rivera

The BARBIE editing team of Nick Houy ACE, Matt Garner and Maya Rivera seemed to have as much fun in the cutting room as what audiences saw on the big screen. Despite this being the first time the three worked together, they described the process of working on BARBIE to be an open, collaborative "family" atmosphere where both personal time and creative contributions were valued.

Stereotypical "Barbie" (Margot Robbie) and a wide range of fellow Barbies all reside in Barbieland, a matriarchal society where all women are self-confident, self-sufficient, and successful. While their Ken counterparts spend their days engaging in recreational activities at the beach, the Barbies hold important positions as doctors, lawyers, and politicians. Beach "Ken" (Ryan Gosling) is only happy when he is with Barbie and seeks a closer relationship, but Barbie rebuffs him in favor of independence and female friendships. Barbie and Ken are having the time of their lives in the colorful and seemingly perfect world of Barbieland. However, when they get a chance to go to the "real" world, they soon discover the joys and perils of living among humans.

NICK HOUY, ACE

NYC-based Nick Houy is now on his third film with actor/writer/director Greta Gerwig. The two previously teamed up for LADY BIRD (2017) and LITTLE WOMEN (2019). In addition to his work with Gerwig, Nick has also cut for actor/director Jonah Hill on MID90'S (2018) and STUTZ (2022). In 2017, Nick won an Emmy co-editing the first episode of the mini-series THE NIGHT OF alongside editor Jay Cassidy.

MATT GARNER

Coming into his work on BARBIE, Matt brought with him the enviable experience of having worked on three films for director Martin Scorsese; HUGO (2011), THE WOLF OF WALL STREET (2013) and THE IRISHMAN (2019).

MAYA RIVERA

Apprentice editor Maya Rivera's editorial career had hardly begun and yet she was a valued contributor to the biggest film of 2023. Much of that can be attributed to her initiative in walking up to editor Nick Houy at a screening for LITTLE WOMEN and saying, "I want to work with you"!

Editing BARBIE

In our talk with the BARBIE editing team, we discuss...

• First reactions to a film nobody thought could happen
• Building a better Barbieland
• Barbie vs The Irishman
• Whose baby is this?
• Making things up (music? entire scenes?) as you go along

The Credits

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Editors – Dana E. Glauberman ACE, James D. Wilcox ACE and Rosanne Tan ACE

AHSOKA editors Dana E. Glauberman ACE, James D. Wilcox ACE and Rosanne Tan ACE worked together for the very first time to help bring to life the story of Anakin Skywalker's former apprentice. Although none of the three describe themselves as experts on the Star Wars universe, it's their gifts as storytellers that led Dave Filoni to trust them with his latest entry in the saga.

Set after the fall of the Empire, AHSOKA follows the former Jedi knight, Ahsoka Tano, as she investigates an emerging threat to a vulnerable galaxy.

DANA E. GLAUBERMAN ACE

When she's not lending her editorial talents to the Star Wars universe, Dana is cutting films like GHOSTBUSTERS: AFTERLIFE, CREED II, UP IN THE AIR and JUNO. AHSOKA marks Dana's third tour of duty for Lucasfilm, having been part of the editorial crew for THE MANDALORIAN - S1 and THE BOOK OF BOBA FETT.

JAMES D. WILCOX ACE

A frequent collaborator with director Ron Howard, James cut Howard's adaptation of the book HILLBILLY ELEGY as well as his documentary THIRTEEN LIVES. Unlike most feature editors who started their journey in post as an assistant, James actually started out as a full-time editor working in news and sports. This is James' third appearance on The Rough Cut.

ROSANNE TAN ACE

Like Dana, Rosanne Tan ACE makes her 4th appearance on The Rough Cut! Prior to AHSOKA, Rosanne was making her mark with another Disney studio, cutting Marvel's HAWKEYE and THE FALCON AND THE WINTER SOLDIER. Before her tour of duty with Disney, Rosanne was editing tv shows that featured action, intrigue and high drama; notably MR. ROBOT and HOMECOMING.

Editing Ahsoka

In our discussion with the AHSOKA editors, we talk about:

• Cribbing Kurosawa's Kagemusha
• Representing the audience in the cutting room
• Pressing pause on Pittsburgh in VFX meetings
• Dialing up Dune for the sound design
• Ahsoka Tano and the Shawshank Redemption

The Credits

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Editor Dana E. Glauberman ACE on cutting Ghostbusters: Afterlife and The Book of Boba Fett

Hear James D. Wilcox ACE talk about cutting Hillbilly Elegy and Thirteen Lives

Rosanne Tan ACE on editing Homecoming, The Falcon and the Winter Soldier and Hawkeye

Listen to parts one and two from the Season One interview with Dana and The Mandalorian editors

Check out the Season Two interview with the editors from The Mandalorian

See what's new with Avid Media Composer

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Editors - Mike McCusker ACE, Andrew Buckland ACE and Dirk Westervelt ACE

The INDIANA JONES AND THE DIAL OF DESTINY editing team of McCusker, Buckland and Westervelt have been amping up the action in the cutting room for a while now. First joining up for James Mangold's LOGAN (2017); the team would collaborate once more on Mangold's FORD V FERRARI (2019) before finding themselves at the editorial helm of the fifth, and most likely final, installment of the Indiana Jones franchise.

INDANA JONES AND THE DIAL OF DESTINY sees daredevil archaeologist Indiana Jones race against time to retrieve a legendary dial that can change the course of history. Accompanied by his goddaughter, he soon finds himself squaring off against Jürgen Voller, a former Nazi who works for NASA.

MIKE McCUSKER, ACE

Aside from his Oscar®-winning turn in Mangold's FORD v FERRARI (2019), Mike McCusker is known for a wide variety of films including; WALK THE LINE (2005), AUSTRALIA (2008), THE AMAZING SPIDER-MAN (2012) and THE GREATEST SHOWMAN (2017)

ANDREW BUCKLAND, ACE

Also an Oscar®-winner for FORD v FERRARI (2019), Andrew "Don't call me Andy" Buckland is a frequent editorial collaborator with Mike McCusker on films like; 3:10 TO YUMA (2007), THE WOLVERINE (2013) and THE GIRL ON THE TRAIN (2016).

DIRK WESTERVELT, ACE

When he's not cutting for James Mangold on projects such as; LOGAN (2017) and FORD v FERRARI (2019), Dirk's editing chops can be seen in DEADPOOL 2 (2018) and ZOMBIELAND: DOUBLE TAP (2019).

Editing INDIANA JONES AND THE DIAL OF DESTINY

In our discussion with Mike, Andrew and Dirk, we talk about:

• Making the most of motifs
• To Wilhelm or not to Wilhelm
• Dealing with dialogue during de-aging
• A touch of 70's cinema for Indy
• Andrew Buckland - Man of a Thousand Voices

The Credits

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Learn about Avid's new Media Composer for Students program

See Dirk present the Avid timelines from DIAL OF DESTINY

Listen to Mike and Andrew talk about their work on FORD v FERRARI

Hear Dirk discuss cutting ZOMBIELAND: DOUBLE TAP

Watch Dirk present a behind the scenes tour of DEADPOOL 2

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Editors - Richie Edelson and Sarah Zeitlin

The ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin walked similar but separate paths in the early stages of their careers. Each cut their editorial teeth in the world of unscripted and both took a turn at the same mockumentary sitcom format that they would employ in the show that finally united them as co-editors.

Abbott Elementary is a mockumentary sitcom created by Quinta Brunson for ABC. It stars Brunson as Janine Teagues, an optimistic second-grade teacher at the poorly funded Willard R. Abbott Elementary School; a predominantly Black Philadelphia public school where a documentary crew is recording the lives of teachers working in underfunded, mismanaged schools. Although conditions at the school are harsh and most teachers don't last more than two years, Teagues is determined to help her students despite the circumstances.

RICHIE EDELSON

Richie's early career path found him in the cutting rooms of popular unscripted series such as PROJECT RUNWAY (2008), REAL CHANCE OF LOVE (2008-09) and ROB DYRDEK'S FANTASY FACTORY (2009). Soon after he would get to flex his comedy chops on sitcoms like PARKS AND RECREATION (2012-13), BLACK-ISH (2014-17) and SUPERSTORE (2017-21). It would be Edelson at the helm of the Avid when it came time to develop the pilot for the soon-to-be hit series, ABBOTT ELEMENTARY (2021-23).

SARAH ZEITLIN

Like Richie, Sarah has also logged a few miles on the road of reality television; assisting on HELL'S KITCHEN (2008), plus assisting and editing on THE MILLIONAIRE MATCHMAKER (2008-11). But it would be assisting on the mockumentary hits MODERN FAMILY (2009-10) and PARKS AND RECREATION (2012) that would be a sign of things to come for her role as editor on ABBOTT ELEMENTARY (2022-23). Sarah's work as an editor can also be seen in dramas like HOMELAND (2017-20) and MAYOR OF KINGSTOWN (2021).

Editing Abbott Elementary

In our discussion with the ABBOTT ELEMENTARY editing team of Richie Edelson and Sarah Zeitlin, we talk about:

• The hidden benefits of commercial breaks
• The anatomy of a mockumentary sitcom
• The truth of building a character through comedy
• The sound of silence or just a bad speaker?
• Lovely parting gifts

The Credits

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Learn all about the Media Composer for Students program

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Editor - Jennifer Lame ACE, Additional Editor - Mike Fay, 1st Assistant Editor - Nick Ellsberg and 1st Assistant Film Editor - Tom Foligno

The OPPENHEIMER editing team of Jennifer Lame ACE, Mike Fay, Nick Ellsberg and Tom Foligno applied their collective storytelling talents to film technology both old and new. While Jennifer and Mike worked to shape and refine Christopher Nolan's story into an instant classic, Nick and Tom were tasked with mastering a hybrid film and digital workflow to make the most of Nolan's brilliant 70MM IMAX footage.

Based on the 2005 biography American Prometheus by Kai Bird and Martin J. Sherwin, the film chronicles the life of American theoretical physicist and polymath J. Robert Oppenheimer. The story predominantly focuses on Oppenheimer's early studies, his direction of the Manhattan Project during World War II, and his eventual fall from grace due to his 1954 security hearing; juxtaposed with this are events surrounding Oppenheimer's relationship with Lewis Strauss, a senior member of the United States Atomic Energy Commission who sees Oppenheimer as a rival. It stars Cillian Murphy as Oppenheimer and Robert Downey Jr. as Strauss, with the remaining ensemble supporting cast including Emily Blunt, Matt Damon, Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek and Kenneth Branagh.

JENNIFER LAME, ACE

While Jen claims that her "wheelhouse" in editorial is films that feature people talking in rooms, as her work on MANCHESTER BY THE SEA (2016) and MARRIAGE STORY (2019) both prove, you wouldn't know it by her standout work in bigger features like Christopher Nolan's TENET (2020) and BLACK PANTHER: WAKANDA FOREVER (2022).

MIKE FAY

As Jen Lame was wrapping up things on WAKANDA FOREVER, she entrusted the early assembly duties on OPPENHEIMER to Mike Fay. Prior to OPPENHEIMER, Mike had been sharpening his skills as an assistant editor on LIFE OF PI (2012) and GHOSTBUSTERS: AFTERLIFE (2021) and as a VFX Editor on JOHN WICK: CHAPTER 3 - PARABELLUM (2019) and BULLET TRAIN (2022).

NICK ELLSBERG

Nick and Mike Fay had more than a passing familiarity prior to OPPENHEIMER. Like Mike, Nick worked on BULLET TRAIN (2022), GHOSTBUSTERS: AFTERLIFE (2021), and JOHN WICK: CHAPTER 3 - PARABELLUM as an assistant editor.

TOM FOLIGNO

A veteran of the Marty Scorsese film school, having worked as an assistant on CASINO (1995), BRINGING OUT THE DEAD (1999), GANGS OF NEW YORK (2002) and THE AVIATOR (2004), Tom was able to return to his film editing roots and dust off his splicer for his role in the film cutting room on OPPENHEIMER.

Editing OPPENHEIMER

In our talk with the OPPENHEIMER editing team, we discuss...

• The beauty of awkward people talking in rooms
• Keeping up the pace on a three-hour biopic
• Whistling past the biggest scene in the movie because you already know it will be great
• Bringing film workflows back to life, bigger than ever
• Loving Chris Nolan's "all business' approach in the cutting room

The Credits

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Visit The Rough Cut on YouTube