The Rough Cut

Editors - Jason Ballantine ACE and Paul Machliss ACE

While THE FLASH editors Jason Ballantine ACE and Paul Machliss ACE* both hail from Australia, this latest entry in the DCEU would be their first time meeting one another. Both editors have been advancing their careers away from their homeland for quite some time. Jason has worked in LA for the past ten years, while Paul has been in London for the last twenty. The director who would be responsible for bringing these two together is Andy Muschietti, Jason's director for IT (2017) and IT CHAPTER TWO (2019). The two editors split editing duties pretty much down the middle for THE FLASH, each taking five of the film's ten reels. One thing that did separate them for much of the film's development was geography. While Jason was holding down the fort at Warner Brothers Studios in LA, Paul was on location in the UK for seven months, assembling main unit footage with Muschietti. Following production, Machliss would join Jason in LA for six additional months of editing. And it would be six more months before Ballantine would put the final touches on the highly anticipated "metahuman" movie.

Based on the DC Comics character of the same name, THE FLASH is the thirteenth installment in the DC Extended Universe (DCEU). The film is directed by Andy Muschietti from a screenplay by Christina Hodson and stars Ezra Miller as Barry Allen (The Flash) alongside Ben Affleck, Michael Keaton, Sasha Calle, Michael Shannon, Ron Livingston and Maribel Verdú. In the film, Barry travels back in time to prevent his mother's death, which traps him in an alternate reality without metahumans. Barry enlists the help of; his younger self, an older Batman and the Kryptonian castaway Supergirl in order to save this world from General Zod and return to his universe.

JASON BALLANTINE ACE

Jason Ballantine began his editing career in the horror genre (one which he would return to often) with the Australian thriller WOLF CREEK (2005). From there he would edit other fright flicks, such as PROM NIGHT (2008), CRUSH (2009) and NEEDLE (2010). But it would be his work on director Andy Muschietti's adaptation of Stephen King's IT (2017) and IT: CHAPTER TWO (2019) that would put an exclamation point on Jason's work in the horror medium. Jason has also previously teamed up with directors Baz Luhrmann and Matthew Vaughn for THE GREAT GATSBY (2013) and THE KING'S MAN (2021) respectively.

PAUL MACHLISS ACE

While known most prominently for his work with Edgar Wright; SPACED (1999-2001), SCOTT PILGRIM VS THE WORLD (2010), THE WORLD'S END (2013), BABY DRIVER (2017) and LAST NIGHT IN SOHO (2021), Paul also edited; the pilot episode of FLEABAG (2016), eighteen episodes of THE IT CROWD (2006-2008) and films such as THE KID WHO WOULD BE KING (2019) and THE GENTLEMEN (2019). For his work on BABY DRIVER, Paul was nominated for an Oscar® alongside co-editor John Amos.

* [Publisher's Note]

The guests wish to express their regret and apologies for using he/him pronouns in referencing Ezra Miller (they/them). No disrespect was intended toward Ezra or anyone else. This oversight should be attributed to all of the following conditions: jet lag, old age, and recording this interview way too early on a Sunday morning. Thanks for your understanding.

Editing The Flash

In our discussion with THE FLASH editors, Jason Ballantine ACE and Paul Machliss ACE, we talk about:

• Turning up the volume capture way past eleven
• Taking techniques from Baby Driver to a Baby Shower
• Sounds that shouldn't be heard, but still be felt
• Editors having The Knack for needle drops...until they don't
• Scoring points off Zack Snyder and Danny Elfman

The Credits

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Hear Jason Ballantine talk about IT Chapter 2 and The Guilty

Listen to Paul Machliss talk about Baby Driver and Last Night in Soho

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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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Editors - Kelley Dixon, ACE and Josh Earl, ACE

The OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE have long been friends outside of the cutting room, but "Obi-Wan" is the first project they've shared. 5x Emmy-winning editor, Josh Earl didn't have to think twice about Kelley Dixon's offer to join the Lucasfilm series, ostensibly as her assistant even though he's worked for years as an editor. Being a self-professed "Star Wars Nerd", Josh jumped at the chance no matter what his role would be. As for Kelley, her plan was always to have Josh's creative editorial talents shine through during post; culminating in him sharing editing credit with her on the series finale and earning both another Emmy nomination.

OBI-WAN KENOBI takes place ten years after the events of STAR WARS: EPISODE III - REVENGE OF THE SITH (2005)—in which the Jedi were purged with Order 66 and Obi-Wan Kenobi's apprentice, Anakin Skywalker, became the Sith Lord Darth Vader—Kenobi is in hiding on the planet Tatooine, watching over Anakin's son, Luke, when he is called on a mission to rescue Anakin's daughter, Leia, after she is kidnapped by the Galactic Empire's Jedi-hunting Inquisitors in a plot to draw Kenobi out. This leads to yet another dramatic duel between Kenobi and Vader.

KELLEY DIXON, ACE

In addition to her Emmy®-nominated work on OBI-WAN KENOBI, Kelley won an Emmy, plus three additional nominations, for her work on BREAKING BAD (2008-13), and would go on to rack up five more nominations for her subsequent work on the BREAKING BAD spinoff, BETTER CALL SAUL (2015-17). In recent years, Kelley has expanded her resume to include feature films such as THE GOLDFINCH (2019) and BLACK PANTHER: WAKANDA FOREVER (2022).

JOSH EARL, ACE

Josh earned his Star Wars "cred" long before his turn on OBI-WAN KENOBI, having cut MARK HAMILL'S POP CULTURE QUEST (2016-17). But it was his work on the long-running reality hit DEADLIEST CATCH (2006-2019) that put five Emmy's on Josh's trophy shelf, right next to his Star Wars action figures. Among his many other credits, Josh has cut shows like AROUND THE WORLD IN 80 WAYS (2011) and documentaries such as SKI BUM: THE WARREN MILLER STORY (2019).

Editing OBI-WAN KENOBI

In our discussion with the OBI-WAN KENOBI editing team of Kelley Dixon, ACE and Josh Earl, ACE, we talk about:

• Bringing something from Breaking Bad to Tatooine
• Making the jump from editor to assistant editor?
• Being on location in "The Volume"
• Synthesizing new sounds for the Sith Lord
• Intercutting with lightsabers

The Credits

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Editors - Melissa McCoy, ACE and A.J. Catoline, ACE

Ted Lasso editors, Melissa McCoy and A.J. Catoline re-join this episode of The Rough Cut podcast to tell us about what goes on in the cutting room to make all the magic from the locker room.

Ted Lasso is an AppleTV+ series developed by Jason Sudeikis, Bill Lawrence, Joe Kelly and Brendan Hunt, based on a character of the same name that Sudeikis first portrayed in a series of promos for NBC Sports' coverage of the The English Premier League. The premise is that American college football coach Ted Lasso is recruited to coach an English Premier League team, AFC Richmond, despite having no experience in English football.

MELISSA McCOY ACE

Michigan native, Melissa McCoy is an editor and producer, known for Ted Lasso (2020), Rush Hour (2016) and Whiskey Cavalier (2019). Melissa won an ACE Eddie for her work on Ted Lasso in 2021.

A.J. CATOLINE, ACE

Emmy-winning editor, A.J. Catoline is a graduate of NYU's Tisch School of the Arts and USC's Master of Professional Writing Program, and a Board Member of the Motion Picture Editors Guild, Local 700 IATSE. He is a picture editor working in television and documentary film in Los Angeles. He attended the American School in Paris and grew up in Falmouth, Cape Cod, Massachusetts.

Editing Ted Lasso - Season 3

In our discussion with Ted Lasso editors, Melissa and A.J., we talk about:

• Not doing the notes, just making them disappear
• VFX for football teams that don't have any balls
• The way Sudeikis lays his cards out on the table
• Making a mega montage
• One last look back on Lasso

The Credits

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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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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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