Art of the Cut, Ep. 158: "Drive My Car" Editor, Azusa Yamazaki

Today we’re talking with all three editors of the amazing HBO series, Euphoria. Julio C. Perez, ACE, is a co-producer and supervising editor on Euphoria, and has been nominated for ACE Eddies for the last three years, including one for the pilot of Euphoria—and was nominated for an Independent Spirit Award for editing the feature film It Follows. He also edited Under the Silver Lake, which premiered at the 2018 Cannes Film Festival, and Malcolm and Marie with director Sam Levinson. Aaron I. Butler, ACE, is an Emmy-winning and two-time ACE Eddie-nominated editor. He’s edited Kanye’s Jesus Is King and the feature JT Leroy. He also cut the Emmy-nominated documentaries Cry for Syria and American Winter. Laura Zempel has edited HBO’s Room 104 as well as AMC’s Dispatches from Elsewhere. She recently cut Josephine Decker’s latest feature The Sky is Everywhere for Apple and A24. The editing on Euphoria is unique and there’s a lot to discuss. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Louise Ford about editing the Robert Eggers film, The Northman. Louise was nominated for an Independent Spirit Award for Best Editing for her last Robert Eggers film, The Lighthouse. Her filmography also includes features including Bad Education, Wild Life, Don’t Breathe, and another Robert Eggers film, The Witch. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this special Japanese language episode of Art of the Cut, we’re speaking with Azusa Yamazaki, the editor of Drive My Car, which won an Oscar for Best International Feature Film and a BAFTA for Best Film Not in the English Language. Azusa has edited numerous feature films, including Asako I & II, Dream of Illumination, and The Ark in the Mirage. Special thanks to Naoki Tanaka for interpreting this interview. Naoki is a friend of Azusa, and they have known each other since film school. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with Azusa Yamazaki, the editor of Drive My Car, which won an Oscar for Best International Feature Film and a BAFTA for Best Film Not in the English Language. Azusa has edited numerous feature films, including Asako I & II, Dream of Illumination, and The Ark in the Mirage. She has also cut several TV series in her native Japan. Our discussion was through an interpreter—Naoki Tanaka—who is a friend of Azusa’s from film school. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this interview, we discuss the film Everything Everywhere All at Once with the film’s editor, Paul Rogers. Paul has also edited the feature film The Death of Dick Long—which I saw in a packed house at Sundance a few years ago— and another called You Cannot Kill David Arquette. He’s also edited the TV series Dream Corp LLC and The Eric Andrew Show. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In this interview, we discuss two recent films edited by Irish film editor, Úna ní Dhongaíle, ACE, BFE. Belfast is a Best Picture Oscar nominee, and Úna was nominated for an ACE Eddie and a BAFTA for Best Editing for the film. She also edited the beautiful and evocative Agatha Christie mystery, Death on the Nile. Úna’s other credits include editing the film Stan and Ollie, and the TV shows Wallander, The Crown and Les Misérables. Our discussion of the craft will touch on how to create a sense of pace within a single shot, the value for a director to see cuts as he’s shooting, and the value of using your own life experiences to empathize with the story on screen. Let’s dive in! Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Like most successful documentary makers, Chinese-American producer/director Jessica Kingdon makes bold choices with her projects. These have included sex doll manufacture in It’s Coming!, transgender surgery in Born to Be, and a study of China’s largest wholesale market in Commodity City. Across her relatively short career, this work has collected a number of awards. She was named as one of the 25 New Faces of Independent Film by Filmmaker Magazine and made it into the 40 Under 40 list at the 2020 NYC film festival. Her latest documentary, Ascension, earned her a nomination for Best Documentary Feature at this year’s Oscars. Ascension examines the pursuit of “the Chinese Dream” and the realities involved in fulfilling the global supply chain. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Art of the Cut rarely gets a chance to speak with the directors about the intent of their work as it applies to their editors. In this enlightening discussion, we get to hear from director/editor Kogonada about his work on the film After Yang. Kogonada was nominated for the Sundance Film Festival Audience Award and received Independent Spirit nominations for Best First Feature and Best First Script for his film Columbus (2017). He is a South Korean-born American filmmaker who started by creating innovative video essays about cinema. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

Today we’re speaking with William Hoy, ACE, and Tyler Nelson about editing Matt Reeve’s The Batman. I’ve spoken with both of these editors in the past. William most recently for his work on The Call of the Wild and War for the Planet of the Apes before that. Tyler has long worked with David Fincher, and I’ve spoken to him about editing Mindhunter. William’s other credits include Dawn of the Planet of the Apes, 300, Watchmen, Fantastic Four and I, Robot. He’s also edited the TV series Star Trek: The Next Generation. Tyler has also edited the film Rememory and TV series including Shadow and Bone, Tales from the Loop, and Love Death + Robots. He’s also been a visual effects editor or Assistant editor on films like, The Revenant, Birdman, Gone Girl and The Social Network. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.

In today's Art of the Cut, we're speaking with Ryan Stevens Harris, who edited the film Moonfall alongside co-editor Adam Wolfe. As you'd expect from a Roland Emmerich feature, Moonfall is a big, action-adventure film filled with VFX and interesting editorial challenges to unpack. Ryan discusses his rise up through the post team to the edit chair, the way all cinematic arts inform each other, the role of sound in world-building, and how he directed a feature film with something his relatives dug up from a basement in Omaha, Nebraska. Thanks to Frame.io for their support of Art of the Cut and their pledge to keep this content coming your way. Click here to read this interview along with extra content at blog.frame.io, where you'll also find expert guides, tutorials, and insights from veteran filmmakers across the film and TV industry.