Post Production


If you’re reading this, chances are you’re one of the millions of people around the world who’s spending more time than usual inside. Luckily for editors, our work is generally not dependent on a specific location. If we have a computer and our brain, then we can work. But, that isn’t to say remote work is easy. 

As an editor, Michael helped bring television into the major leagues in the early 2000s, editing throughout the entirety of Six Feet Under and working on major projects like True Blood, Dexter, Homeland, The Leftovers, and much more. Most recently, he took on Amazon’s sweeping fantasy series Carnival Row.

Editing, in many ways, works like a magic trick. You’re using spectacle and distraction to achieve your true goal—to make the audience feel something. Or, as Oscar-winning Editor Michael McCusker puts it, you’re making your audience “emotionally smart.”

Filmmaking can be a messy process. But, according to Spencer MacDonald, sometimes that’s the point, especially when it comes to the interaction between editing and directing: “I always felt like it’s impossible for me to separate the two,” Spencer told us. “For me, making a film or anything of that nature is a whole web.

Warner Bros. latest Joker, takes a conscious step away from the stylized trappings of past Gothams, delivering a raw vision of an urban squalor recalling New York from decades past. The protagonist, played by Joaquin Phoenix is a product of these surroundings. The odyssey that transforms him from Arthur Fleck to a clown-faced menace points to how this film is more of a character study than the traditional comic book blockbuster.

On this project, Director Todd Phillips employed many of his past collaborators, including film editor Jeff Groth, who worked on series such as Community and Entourage and later joined Phillips as the editor for The Hangover Part III and War Dogs. The workflow Groth established on these earlier projects required modification to develop the backstory for the DC villain.

As the editor for the SNL Film Unit as well as working on Documentary Now!, The Other Two, and many more, Adam Epstein gets the rare opportunity to cut a new short film every week during the season. It’s a mad-dash, fast-paced process that we’ve talked about before with Adam. But, as we dive into