When I come onto the show, I read the scripts for all the episodes leading up to my episode. I try not to read past what I’m cutting. I don’t wanna know where these characters are going. I wanna stay grounded in what they’re doing in that moment. I’ll see the episodes once they’re cut and ready to be viewed. Once I get started, I’ll know which aspects I like while making the episode I’m working on stand on its own two feet.
The ACE Eddie Awards, a celebration of the craft of film editing, was held this past weekend on March 14, 2025. Myron Kerstein, ACE, Juliette Welfling, and Mary Blee are among some of the winners for their work in this year’s top acclaimed movies: Wicked, Emilia Pérez, and The Wild Robot, respectively. Friday was also a night of remembrance for the tragedy of the Altadena and Palisades fires, with nods to the heroes who helped fight them.
My favorite scene is when Lawrence goes to confront Cardinal Adeyemi about his past and tells him he’s not going to be Pope. In the script, they pray together and then we see Adeyemi making a vote knowing that he’s finished, but we decided to fold them into one another so that the scene ends with Adeyemi asking Lawrence to pray. I just remember looking at this frame of Lawrence saying yes from another room, and I thought that looked like somebody’s point of view.
Kelsey Grammer comes from the golden age of sitcoms. He wants to stick to making sure the audience is enjoying the process. It is a live play. Let’s get it as best we can all week with rehearsals, and then we put it on in front of an audience and get to see the energy.
I just sit there in awe, I just receive it. I don’t even go on set, I’m in the studio, but I don’t like to tread on set and kind of spoil my vision of what they’re giving me. I can respond to only what I’m receiving and I think I’m the first audience member for the film.
It always existed as 90 minutes. The challenge was that you were moving at a certain speed with a certain tempo and you also wanted to give each character their moments and to allow the audience to settle into something. The delicate balance of pacing and rhythm and restructuring little moments of the script or what was shot to keep you on this roller coaster.
“I told her, ‘It’s incredible how you’re drawing us in, and then repelling us all, showing us how dark Martha is, but you still feel for her.'”
“A lot of it was therapy for us.”
