Jennifer Lilly’s career path has been what you might call “traditional.” After starting as a PA on the big box office Hollywood film The Siege, Jennifer apprenticed in the cutting room of Sweet and Lowdown before she landed a small editing job on Scorsese’s Gangs of New York. “I was raised old school,” she told us. “I was mentored.”

When we called editor Joseph Krings, there was a familiar voice in the background. “That was Kevin Spacey,” Joseph said, moving into another room while his co-editors continued refining a scene from their upcoming film Rebel in the Rye, about the infamously reclusive and obsessive writer J. D. Salinger. “We’re working on the final mix now,”

“I’ve always made very, very strange films,” Matthew Hannam tells us, a tidy summary of a skyrocketing editing career that has included such genre-bending projects as Swiss Army Man, James White, and the recent Netflix miniseries The OA. “I feel proud having served a smaller audience well, rather than a general audience.” But with the wide critical

Every week, the Saturday Night Live Film Unit team pulls off a not-so-small miracle. They produce, shoot, edit, and broadcast a fully realized short film in less than four days. For their editor Adam Epstein, that leaves roughly one day for post-production. One day. Sometimes less. And you thought your deadlines were stressful. After eight years of

In the short film Cooking Up a Storm, edited by Lucas Harger, the process of preparing a meal is imagined as an analogue for a storm. It’s a clever concept, but the execution is what puts this project over the top. The cinematography is beautiful, the sound design is spot on, and the editing is a