David Fincher’s go-to editor Kirk Baxter helps achieve a new kind of subjective cinema with Michael Fassbender’s character in “The Killer.”

“Once you hear the word spoken, you hear the rhythms, you start to get an idea in your head, and you can begin visualizing an episode.”       

“Oppenheimer” editor Jennifer Lame, ACE speaks with “The Rough Cut” host Matt Feury about working with writer-director Christopher Nolan.

Director Chad Stahelski chose to work with editor Nathan Orloff on “John Wick 4” because he had no preconceptions about action films.

The Motion Picture Academy celebrates the talented editors behind the five films nominated for Best Film Editing at the 95th Oscars.

“Andor” creator and showrunner Tony Gilroy and editor John Gilroy recount the complexities of bringing the Star Wars episodic to the screen.

Editor Joe Walker details his collaboration with director Denis Villeneuve to find simplicity and economy in the Frank Herbert adaptation.

“Hacks” editor Jessica Brunetto balances drama and comedy in the HBO Max series starring Jean Smart and Hannah Einbinder.

ACE editors A.J. Catoline and Melissa McCoy on editing “Ted Lasso” — it’s all about teamwork and passing the ball.

Lead editor Amy E. Duddleston, ACE details how pandemic-forced delays impacted production and post-production for the hit HBO series.

Editor Myron Kerstein, ACE helps turn Lin-Manuel Miranda’s exuberant celebration of NYC’s Latino culture into a big-screen block party.

Thomas Flight delves into the editing choices in the two films, exploring their impact and overall feel.