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

Longtime friends and collaborators, director-screenwriter-producer Alexander Payne and editor Kevin Tent, ACE reunite for their eighth film.

“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.

If FX’s The Bear reminds you of a Martin Scorsese film, you won’t be surprised editor Joanna Naugle is a devotee and used his movies as references for the show.

The editing team on “Barbie” and writer-director Greta Gerwig talk about their process for combining humor, emotion and anarchy.

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.

“Bullet Train” editor Elísabet Ronaldsdóttir, ACE draws on her experience cutting dance choreography films to help elevate action movies.

NAB President and CEO Curtis LeGeyt on taking the “reigns of this great association”

Convention opens with renewed energy and new hall