Spike Lee’s Longtime Editor: ‘BlacKkKlansman’ Was His Quickest Cut Since ‘Do the Right Thing’

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Francoise Bonnot Dies: Oscar-Winning Editor & Costa-Gavras Regular Was 78

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‘Mindhunter’: David Fincher and Editor Kirk Baxter’s Dance of Death

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Anne V. Coates, RIP: How the ‘Lawrence of Arabia’ Editor Helped Steven Soderbergh Unlock His Potential as a Filmmaker

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Oscars 2018: How ‘Baby Driver’ Became an Unconventional Editing Contender

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Anonymous Oscar Ballot: Editor Thinks ‘Get Out’ Should Win, Not Impressed with ‘The Shape of Water’

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Editor Tatiana S. Riegel On Managing ‘I, Tonya’s Complicated Balance Of Humor & Pathos

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How Oscar-Nominated ‘I, Tonya’ Editor Tatiana Riegel Broke the Fourth Wall

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‘Hostiles’ Editor Tom Cross On Cutting Scott Cooper’s Psychological Western

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‘Darkest Hour’ Editor Valerio Bonelli On Exploring A Refreshingly “Old-Fashioned” Way Of Working With Director Joe Wright

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‘Call Me By Your Name’ Editor Walter Fasano On ‘Suspiria’ & Luca Guadagnino’s Coppolian Factory Of Artists

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‘Molly’s Game’ Editors Alan Baumgarten & Josh Schaeffer On Learning To Work In Aaron Sorkin’s Style

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‘Baby Driver’ Editors Jonathan Amos & Paul Machliss On Edgar Wright’s Ultimate Audio-Visual Expression

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‘Dunkirk,’ ‘The Shape of Water,’ and ‘Molly’s Game’: ACE Eddie Noms Bring Snubs and Surprises

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Cutting ‘Lady Bird’: Greta Gerwig and Her Editor Tackled a Bittersweet Mother-Daughter Love Story

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Oscars 2018: How ‘Dunkirk’ and ‘Darkest Hour’ Became Complementary Movies About Heroism and Leadership

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‘Wonderstruck’ Editor Affonso Gonçalves On The World You See, And The World You Hear

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‘Dunkirk’ Editor Lee Smith On Crafting Larger-Than-Life Experiences For The Eyes & Ears

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‘Call Me By Your Name’: Editing Was Crucial to the Year’s Best Love Story

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‘Detroit’ Editors William Goldenberg & Harry Yoon On Three-Camera Cuts & “The Magic Of Kathryn Bigelow”

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