"The greats like Schoonmaker and (the late) Coates are here. But so are the current blockbuster cutters like Eddie Hamilton . their methods and style are as individual as the individual themselves. And you as a reader will find yourself muttering 'Absolutely' or 'Nope.that does not work for me.' And you find yourself seated at the table as this masterclass is going on. And it's a really big freakin' table." --Book Review, by Jonathan Dowler, Canadian Cinema Editors "Steve Hullfish has interwoven great swathes of interview and made them flow like a well-constructed movie.

You get concentrated information fired at you from the most eclectic, dynamic range of editors from all genres, mediums and nationalities . Most editors, when asked how they do what they do (a question we are all perhaps a little tired of now) answer 'Instinct!' This marvellous book is the first I've read (sourced from many horses' mouths rather than books written from a single perspective) to refute that. There are concrete techniques to learn here as well as aesthetic considerations that stay our hand or entice an 'I' and an 'O' on a favoured shot. There is something for every editor on every page whether they're new to the industry or, like myself, with many decades behind me." --Book Review by Alan Miller, GBFTE's First Frame , Spring 2018 Art of the Cutmay indeed be the essential tool for the cutting room. Here is a reference where you can immediately see how our contemporaries deal with the complexities of editing a film. In a very organized manner he guides the reader through approaching the scene, pacing and rhythm, structure, storytelling, performance, sound design and music. I am placing this book on my shelf of editing books and I urge others to do the same.

--Jack Tucker, ACE "In addition to having ready access to the experiences of so many editors in one volume, the book also makes great use of its formatting, structure and layout to enhance the learning experience and make sure you take away some practical wisdom." --Jonny Elwyn, Film Editor n from a single perspective) to refute that. There are concrete techniques to learn here as well as aesthetic considerations that stay our hand or entice an 'I' and an 'O' on a favoured shot. There is something for every editor on every page whether they're new to the industry or, like myself, with many decades behind me." --Book Review by Alan Miller, GBFTE's First Frame , Spring 2018 Art of the Cutmay indeed be the essential tool for the cutting room. Here is a reference where you can immediately see how our contemporaries deal with the complexities of editing a film. In a very organized manner he guides the reader through approaching the scene, pacing and rhythm, structure, storytelling, performance, sound design and music. I am placing this book on my shelf of editing books and I urge others to do the same.

--Jack Tucker, ACE "In addition to having ready access to the experiences of so many editors in one volume, the book also makes great use of its formatting, structure and layout to enhance the learning experience and make sure you take away some practical wisdom." --Jonny Elwyn, Film Editor o many editors in one volume, the book also makes great use of its formatting, structure and layout to enhance the learning experience and make sure you take away some practical wisdom." --Jonny Elwyn, Film Editor.