Much of the success of “Baby Reindeer” can be credited to the deft editing required of Peter Oliver that changes tones throughout the series.

Finding the right tone for the film was tricky, says “The Fall Guy” editor Elísabet Ronaldsdóttir, because it was really two movies in one.

As we have seen from the recent NAB Show, more and more vendors are offering cloud-based workflows. Here is primer to get you started.

While assembling “Dune: Part 2,” editor Joe Walker, ACE referenced both James Bond movies and animated Road Runner cartoons by Chuck Jones.

Editors Mags Arnold, Brenna Rangott and Matt Chessé, ACE discuss the making of HBO’s hit anthology series, “True Detective: Night Country.”

Editor Yorgos Mavropsaridis, ACE discusses his collaboration with director Yorgos Lanthimos on the multi-Oscar nominated “Poor Things.”

Keeping the audience guessing without tilting bias was key for “Anatomy of a Fall” director Justine Triet and editor Laurent Sénéchal.

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

Filmmakers Andrew Haigh and Jonathan Alberts discuss how they blended supernatural elements into the deeply personal “All of Us Strangers.”

Editor Sam Restivo discusses the process of making Ridley Scott’s “Napoleon” alongside the director’s longtime editor Claire Simpson.

As meditation on the madness of power, a cultural studies professor argues that Ridley Scott’s “Napoleon” needn’t be historically accurate.

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