Best Picture may be the biggest and most discussed category when it comes to the Academy Awards, but that does not mean that the others aren’t worthy of applause — especially when a great film is inevitably anchored by more than a handful of talented professionals. The Best Film Editing category, for one, has always been among the most interesting. It celebrates the gifted people who connect the shots, scenes, and sequences to pull movies' storylines together, often resulting in extraordinary achievements for audiences to savor.
However, a movie’s post-production is far from easy; it requires a lot of effort, focus, and dedication from the crew, which also includes film editors. To celebrate the astounding work of film editors, we look back at some of the best Film Editing Oscar winners that left a strong imprint on cinema, from epic war dramas likeSchindler’s Listto independent, genre-bending films such asEverything Everywhere All at Once.
10’Schindler’s List' (1993)
Film Editor: Michael Kahn
Steven Spileberg’s critically acclaimed, heart-wrenching war drama has garnered worldwide praise, and for very good reason. Featuring excellent direction and impressive acting performances, the movie depicts the celebrated story of the businessmanOskar Schindler(William Neeson) who saved the lives of thousands of Jews during the Holocaust by turning his factory into a refuge.
The Best Picture winnerSchindler’s List— arguablythe filmmaker’s best movie to date— is a classic for many reasons; part ofwhat makes Spielberg’s movie so good is its stunning black-and-white cinematography and Michael Khan’s crosscut editing used to emphasize cinematic parallels, as it is one of the film’s most important elements and helps tell the emotional story. The film editor is among the most renowned in his field, having won the Oscar three times forRaiders of the Lost Ark,Saving Private Ryan, and, of course,Schindler’s List.According to L.A. Times, Spielberg described Kahn’s work on the film as “his greatest and most sensitive” accomplishment.
Schindler’s List (1995)
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9’Star Wars: Episode IV - A New Hope' (1977)
Film Editors: Marcia Lucas, Richard Chew, Paul Hirsch
While first-time viewers may argue that the originalStar Warstrilogy is dated tech-wise, the film was and continues to be an incredible achievement in filmmaking. Not only didGeorge Lucas' feature promote the sci-fi genre and propel the marketing of merchandising, but it also featured an incredible story with awesome special effects.Star Wars: Episode IVfollowsMark Hamill’s Luke Skywalker as he joins forces with a Jedi Knight (Alec Guinness), an overly-confident pilot (Harrison Ford), and a Wookie (Peter Mayhew) on a life-changing galactic quest.
Lucas' incredible direction is a culprit forStar Warsbeing the impressive landmark that it is, but post-production, including the super editing, also helped shape it into the beloved film it endures today.A New Hopewas elevated by Marcia Lucas, Richard Chew, and Paul Hirsch’s editing, which helped create Lucas' vision. Some even argue that the film was saved “in the edit” particularly by Marcia Lucas, who cut down on unnecessary footage.
Star Wars: Episode IV - A New Hope
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8’All That Jazz' (1979)
Film Editor: Alan Heim
Directed byBob Fosseand starringRoy Scheider, this semi-autobiographical fantasy based on aspects of Fosse’s own life relies on a swirl of dance numbers to tell its engaging story. As it jumps between the past and present, the Palm d’Or and Oscar-winningAll That Jazzkeeps audiences invested in the life and career of the renowned dancer, director, and choreographer.
Featuring great musical numbers (it was nominated for Best Original Score, after all),All That Jazz’s impeccable editing by the talented Alan Heim plays a huge part in the film’s storytelling, as it actually foreshadows what ultimately happens. When recalling his experience editing the film, Heimrevealed to Hollywood Reporter: “That’s when I became a full-fledged editor, in a way. It just gave me a lot of freedom to move time around, which is one of the things I find very attractive about editing. Working with Bob was always an adventure. He was a perfectionist.”
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7’Matrix' (1999)
Film Editor: Zach Staenberg
While theWachowskisisters' efforts in this highly referenced film are undeniably deserving of admiration,Zach Staenbergis also worthy of applause for his outstanding work (as the Academy would agree). The firstMatrixinstallment, whichturns 25 years old this year, introduces viewers to the epicKeanu Reeves-led sci-fi franchise, illustrating a dystopian future in which humanity is trapped inside a simulated reality that intelligent machines have created.
With incredible productionandpost-production work,Matrixis one of the most groundbreaking features of all time — especially considering how it relied heavily on CGI, consequently resulting in ahead-of-its-time imagery.As for Staenberg’s Oscar-winning editing methods, he used parallel editing, which means cutting between two scenes happening at the same time(cuts between the Matrix and the real world). This results in increased intrigue and speed.
The Matrix
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6’The Social Network' (2010)
Film Editors: Angus Wall, Kirk Baxter
ThisDavid Finchermovie remains a fan favorite, ahighly rewatchable featurethese days, and it is not difficult to understand why. With an enthralling narrative and excellent acting performances, theJesse Eisenberg-led feature based on Harvard student and then Facebook creatorMarkZuckerberg’s personal and professional life depicts the time he was sued by the twins who claimed he stole their idea.
Film editing was undoubtedly a major storytelling aspect inThe Social Network, as the montages are extremely well executed and helped make conversations even more engaging. Close-ups and fast pacing, for one, were cleverly utilized to portray shifts in power and the aggravation of arguments. “You may take a line from take 38,” Wallrevealed to IndieWirewhen discussing the techniques they used in the film’s post-production. “You may take a line from take 13, you may take a line from take 17, and you put the scene together with the best performances and camera work from the body of media you’re pulling from.”
The Social Network
5’Lawrence of Arabia' (1962)
Film Editor: Anne V. Coates
From the mind ofDavid Lean,Lawrence of Arabiais regarded as an epic biographical adventure drama nowadays. It is based on the life ofT. E. Lawrence(adapted from his 1926 bookSeven Pillars of Wisdom), an English officer who united and led Arab tribes during World War I to fight the Turks. With the eight-time Oscar-nominatedPeter O’Toolein the leading role,Lawrence of Arabiais widely deemed as one of the greatest films ever made.
Collecting an impressive total of seven Academy Awards — including, of course, Best Editing — this classic has captured the attention of many over the years (for better or worse, considering thatit was slightly controversial and even banned in some countries).Anne V. Coates’s (who now has a 60-year-long career) spectacular work inLawrence of Arabia, though, helped cement it as one of the greats. One of the most memorable techniques used in the film is a juxtaposition known as a match cut.
Lawrence of Arabia
Film Editor: Margaret Sixel
With an upcoming entry just around the corner (Furiosa, one ofthe most anticipated films of 2024, is set for release in May),Mad Max: Fury Roadis a beloved film in the action and dystopian genres. It starsCharlize Theronas Furiosa and illustrates her quest to rebel against a tyrannical ruler (Hugh Keays-Byrne) in search of her homeland with the help of a group of female prisoners and a drifter named Max (Tom Hardy).
Featuring usually centered shots,Fury Roadis an engaging picture, although not everyone’s cup of tea. In addition to its rich, colorful palette and great acting performances,one ofMad Max’s strongest aspects (and essentially why it issogood) is Margaret Sixel’s meticulous editing, which includes “eye trace,” a technique that posits that you can guide the viewers' eye and make them look where you want, and crosscutting.According to Far Out Magazine, the movie took Sixel 6,000 hours to complete. “It was wonderful having all of this stunning material, but it could be mindboggling at times,” she said.
Mad Max: Fury Road
3’Raging Bull' (1980)
Editor: Thelma Schoonmaker
Martin Scorsese’s high-ratedsports biopic starring the iconicRobert De Niro(though he was initially reluctant to develop the project) portrays the life of boxerJake LaMotta, who saw his life crumbling before him when the violence and temper that led him to the top started to slowly destroy what he had built. It is an adaptation of the former middleweight boxing champion’s 1970 memoirRaging Bull: My Story.
Raging Bullis no less incredible than what viewers would probably expect from the renowned director, butpart of the movie’s charms is Thelma Schoonmaker’s stylish and clever editing; it’s not for no reason that she equaled the record for the most Oscar wins in the category, shared withRalphDawson,DanielMandell, and Kahn. Through Schoonmaker’s effective efforts, which include how she quickens intense moments and keeps audiences' eyes glued to their screens, Scorsese makes boxing feel authentic and thus extremely absorbing.
Raging Bull
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2’Everything Everywhere All at Once' (2022)
Film Editor: Paul Rogers
Directed by theDaniels, the Best Picture winnerEverything Everywhere All at Oncetook the Academy Awards by storm in 2023, taking home seven Oscars out of the eleven categories it was nominated for. This surprised many considering how much of an unconventional, non “Oscar bait-y” the A24 production was. The film centers aroundMichelle Yeoh’s middle-aged Chinese immigrant who is swept up into a wild adventure in which she must save all existence by connecting with alternate universe versions of herself.
Among the many categories that the indie film swept, its Best Film Editing win was certainly one of the most deserving. Daniels' utterly creative vision combined withPaul Rogers' film editing skills could only result in critical acclaim;Rogers dida fantastic job at crafting this genre-bending feature, especially considering all the tricky scenes it features, including the quick cuts as characters cycled between alternate realities. “I think that movie has proven that you may tell the story all kinds of different ways. And yeah, you don’t have to follow a formula,” Rogerstold Forbes.
Everything Everywhere All at Once
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1’Whiplash' (2014)
Film Editor: Tom Cross
Damien Chazelle’sbest movieso far (and also his most brutal) is arguablyWhiplash, whereMiles TellerandJ.K. Simmonsdeliver career-defining performances — especially the latter, who earned an Academy Award nod — as two perfectionist musicians: one, a promising music student and drummer; the other, a highly demanding and intimidating professor who will stop at nothing to realize his potential.
Tom Cross' involvement as the film editor of the Best Picture nomineeis undeniably a key reason whyWhiplashultimately became the exhilarating and anxiety-inducing watch that it is. Known for his collaborations with Chazelle, Cross put his impressive movie editing skills to practice — and at full force — when editing the 2014 film, focusing on building tension through fast cuts and alarming close-ups. Chazelle’s film is terrific, but much of that has to do with its post-production, which is why Cross deservedly took home Best Film Editing.
NEXT:Every Best Picture Oscar Winner of the 21st Century Ranked From Worst to Best
