Editors
Interviews - Editors
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Tension and Releases: Editor Ronald Bronstein on “Marty Supreme”
Timothée Chalamet in Marty Supreme
Ronald Bronstein premiered his feature Frownland at South by Southwest the same year as Josh Safdie’s short We’re Going to the Zoo played, and he felt a pang of insecurity when he saw it. “I was like, ‘Oh, my God,… Read more
“Film isn’t Meant to Solve Problems, It’s Meant to Create More”: David Osit on Predators
Predators
In Predators, three-time Emmy-winning filmmaker David Osit’s new documentary, the titular descriptor applies to multiple people: the pedophiles who found themselves the target of popular NBC sting series To Catch A Predator (2004-07), but also the makers of a show… Read more
From Twin Peaks to Monument Valley: Duwayne Dunham on Legend of the Happy Worker
Legend of the Happy Worker
It’s well known that George Lucas approached David Lynch to direct Return of the Jedi (1983), and that Lynch (thankfully) demurred, instead pursuing Blue Velvet (1985). Less well-known is the fact that the two films share an editor—Duwayne Dunham, an… Read more
Trade Wars: Ian Bell on WTO/99
WTO/99
The archival documentary WTO/99 functions both as historical document and prophecy of the future, chronicling the four days in 1999 when anti-globalization activists from multiple movements—labor unions, student groups, teamsters, anarchists, nonprofit organizations like Global Exchange and the Rainforest Action… Read more
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“The Final Film Often Grows From a Process of Letting Go of Preconceived Ideas…” Editor Stephania Dulowski on Bunnylovr
In Katarina Zhu’s Sundance Competition debut, Bunnylovr, a New York City-based Chinese American cam girl (played by the writer/director) navigates a number of fraught personal relationships (her ex, terminally ill father, artist best friend and one boundary-pushing client) while also caring for a white rabbit, a gift from said client. Working with Zhu to hone and focus these storylines was editor Stephania Dulowski, a Sundance veteran who cut Haley Elizabeth Anderson’s 2024 title, Tendaberry. Below, Dulowski talks about focusing on character, delineating the film’s final beats, and how working within a commercial house has influenced her approach to editing. Filmmaker: […]
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“Loads of the Story Was Abstracted”: Editor Irfan Van Tuijl on Mad Bills to Pay
Joel Alfonso Vargas has adapted his short May It Go Beautifully for You, Rico into the feature-length Mad Bills to Pay (or Destiny, dile que no soy malo), part of the 2025 Sundance Film Festival’s NEXT section. The film follows the carefree Rico as he attempts to get his life together when his girlfriend gets pregnant. Editor Irfan Van Tuijl, who edited May It Go Beautifully for You, Rico reprised his roll for Mad Bills to Pay. Below, he explains what it’s like to cut a film that is composed entirely of master shots and what kind of material was left […]
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“Any Type of Work Has Things to Teach”: Editor Geoffrey Boothby on Didn’t Die
Meera Menon’s 2025 Sundance Film Festival Midnights selection follows Vinita, a snarky podcast host in a post-apocalyptic world dealing with a philandering ex, traumatized siblings, and a dwindling audience. The film is a low-budget, black-and-white homage to George Romero updated for contemporary anxieties. Geoff Boothby served as the film’s editor. Below, he talks about cutting in placeholders that allowed for future shoots to be carefully designed and how choices of what equipment to use in the shoot reverberate in the edit. See all responses to our annual Sundance editor interviews here. Filmmaker: How and why did you wind up being the […]
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“Enter into Disagreements with More Compassion”: Editors Hannah Gabriel, Rubin Daniels Jr., Leslie Simmer and Elise Ahrens on Bucks County, USA
Buck County, USA observes both adults and teenagers in the eponymous location, one of Pennsylvania’s pivotal counties for national and state elections. The series, directed and produced by Robert May and Barry Levinson, focuses on the political battles as seen through teens, looking at conflicts from the eyes of students across the political spectrum. Hannah Gabriel, Rubin Daniels Jr., Leslie Simmer and Elise Ahrens all served as editors on the series. Below, they discuss how the project showed them the common ground in viewpoints they would have otherwise dismissed and the challenges of telling a story that weaves together ten separate […]
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“I Often Think of Doc Editing as Being Similar to Poetry”: Editors Kate Hackett & Andy McAllister on Sally
Sally Ride is well-known for being the first woman in space, but less recognized is her 27-year partnership with Tam O’Shaughnessy. Director Cristina Costantini gives both the professional and the personal equal treatment in the Sundance Premieres documentary Sally. Much of the film consists of footage shot by NASA during astronaut training. Editors Kate Hackett and Andy McAllister were tasked with combing through NASA’s enormous archive for Sally. Below, they talk about the challenges and excitement of being presented with so much footage and the importance of keeping the film close to Sally Ride’s story. See all responses to our […]
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“Keep Working with the Psychology of the Characters”: Editor Linda Man on Sauna
Mathias Broe’s feature debut Sauna tells the story of a man thriving in Copenhagen’s queer community who falls for a transgender man, upending his conception of himself. The film is part of the 2025 Sundance Film Festival’s World Cinema Dramatic Competition. Linda Man (Psychosia, 3 Things) served as editor for Sauna. Below, Man talks about restructuring the first act in order to capture the audience and keeping character psychology at the forefront. See all responses to our annual Sundance editor interviews here. Filmmaker: How and why did you wind up being the editor of your film? What were the factors and attributes […]
